Written by and starring Sheanna Parker Russon, No Love Songs for Lady Basses tells the story of a singer who is often typecast in auditions due to her vocal range as a bassist. She yearns to sing a love song yet has never been able to do so, as love songs are inherently written to be delivered by sopranos.
The production was a beautiful blend of comedy, music, and social commentary, combining to create a well-paced 50-minute show that beautifully weaves and shares moments of laughter and sadness with the audience.
Deeply personal and authentic, the show was performed in an autobiographical format, establishing its position as a “voice” which represents an unheard community whilst also acting as a love letter — and a cry to the industry — to free love from the shackles of stereotypes.
To address a powerful message on something very intimate, a sense of relatability must be established. Here, Parker-Russon did so by blurring the lines between fiction and reality, creating a show that felt extremely genuine. Moments of emotional tension made for a memorable performance, including the expression of a powerful anger toward the injustice she faced. We are reminded once more of how much love was robbed of its liberty — even in the realms of music and artistry. We, as a collective, have shackled the element of sound by internalising generic notions of love.
Such outbursts provided a sense of vulnerability further amplified through the intimacy of the Old Fitz Theatre. Cassie Hamilton’s capable direction ensured that such vulnerability and intimacy was not overbearing, allowing audiences to empathise and connect with Parker-Russon who teeters on the edge of the front stage.
Heavy commentaries are slotted elegantly through cheeky comments and chimes, speaking to the lack of trans voices within the “so-called” inclusive art industry, giving the audience an understanding of the struggles faced by many when showing their identity and seeking representation. For instance, a part of the act was her conversing with a straight middle-aged cis male director represented as a sock puppet; a satirical jab at the conservative male-dominant field that she works in.
Moreover, using love songs as a product that lacks diversity was a clever approach. Sheanna’s story has enlightened me with one thing: while love is a free spirit, we as a collective have imbued love songs with certain specific characteristics. Song, as a universal language to which every human, regardless of their sexuality, culture, and age, can relate to when seeking out the language of love.
Love is liberal; it happens spontaneously, often defying norms and inspiring individuals to rebel in its name. Such powerful emotion has sparked the creative minds of humans throughout the millennia, resulting in memorable poems, sonnets, and in modern times, songs that have defined our age. Elements that constitute love are not as universal as one might think; several traits have become the formula that establishes the colours of a love song.
No Love Songs for Lady Basses is a love letter to the industry. Written and directed beautifully by the creative team, audiences are presented with a show that is raw, witty, and valuable all at once. It was made with great effort, lovingly calling out the arts industry to wake up and remember that if love can happen anywhere, then it can be synthesised in many ways. There are unlimited ways we, as humans, can convey the sounds of love.
