Where friendship, queerness and religion meet, you will find Sing Me the Sweetest Songs sitting as a friend and holding space. From Writer/Director Josie Eastwood and produced by Wallflower Productions, comes a poignant and beautiful show that leaves me floored, and wanting to unpack all that I have seen.

The problem I face, though, is this show begs you to hold it close and take your time unpacking it. The story revolves around five teenage girls attending a Christian summer camp and coming to terms with growing up: who they are and, most importantly, how their queerness fits into it all. These aren’t exactly easy themes to tackle; as someone who grew up in the church and has since become part of the queer community, I’m still struggling to come to terms with them. However, Eastwood manages to navigate these issues with gracefulness and lightness, that I am delightfully surprised to see.

Eastwood is an incredibly talented writer; the script is truly breathtaking. There’s a kindness that sits at the centre of it, surrounded by wonderful characters, smart and witty dialogue, and an emotional maturity (that’s refreshing to see, given the content that is touched upon). What really stands out to me are the moments where the dialogue flows artfully between poetic and natural, creating an almost dreamlike state at times. And I think this is what really draws me into Eastwood’s script: they write in such a way that you feel like you’re being supported. Even in the moments of high tension, you don’t feel unsafe – and that’s so incredibly important when it comes to plays that tackle these heavy issues.

Don’t get me wrong, this play is incredibly beautiful but it is also great fun. Interspersed in here are moments of comedic relief, and music, and joy. Eastwood’s directing and writing really captures the joy and energy of being a teenager, and it provides a levity that lifts the show. Not to mention the brilliant soundtrack full of queer icons, with excellently choreographed performances, reminiscent of drag.

The show is also lifted by the phenomenal performances by Mia Page, Sophie Helm, Klara Talantseva, Josie Torrington, and Ophelia Muller. All of these actors bring an energy and chemistry to each of their roles and the ensemble as a whole. And this spills into everything they do, including singing and dancing. They excel at this, especially the singing. All of their voices blend harmoniously together resulting in a melodious sound.

Each actor also deals with the subject matter of the play masterfully and I find it easy to connect with these characters. They feel like reflections of issues I or others have faced and continue to face. There is a grace to each of their performances which is stunning.

Out of the cast, I often find my eye drawn to Sophie Helm who plays Theo. They embodied their character, so naturally and theatrically. She captures Theo’s awkward goofball of a character such ease. Because of this, they feel like the beating heart of the ensemble, and the audience develops an empathy for Theo, that is fun to see.

Ophelia Muller, who plays Mary also does exceptionally well. She has arguably the smallest role, yet she makes this character memorable. There is a naivety that she carries perfectly, and knows exactly when to utilise or drop it when required. Muller creates a dynamic character and performance that is satisfying to watch.

The other elements at play in Sing Me the Sweetest Songs are (as I would put it) simply effective. They do not pull your attention too much and they serve as a soft backing to the play. The lighting, designed by Ezra Jones-Moki, is soft and bright, never too fancy. The music and sound, designed by Josie Eastwood, provides a nice backdrop for scenes and is useful in lifting the tone up. It brings excitement and energy into the characters while they dance, lip-sync and sing. The set, designed by Zalán Orbán (also the stage manager), frames the piece nicely, utilising church and summer camp imagery. All of these elements are simple, yet effective.

All of this makes Sing Me the Sweetest Songs a show the audience loves and embraces. I sit in the back and observe a full house go nuts over this show. As soon as the songs ‘Primadonna’ or ‘Good Luck Babe’ come on, the audience erupts, and this energy sweeps throughout the show. The audience is fully immersed. I would say this due to how we are treated. From the moment we step through the doors we are offered a cracker for communion which we are invited to take during the show. We are also encouraged to chant and clap, and all sorts. The cast and crew create an environment that encourages the audience to feel as if they are a part of the story and friend group. This leads one particular occasion where, after juicy piece of information is revealed about a character, an audience member exclaims, “Oh girl…”. While the audience do laugh at this, the amazing thing is we are not pulled out of the scene, it just feels like a friend’s response to what they just heard.

Sing Me the Sweetest Songs is a play that is perfect for the Fringe Festival. But I do wonder if Fringe holds them back a little. Due to the nature of it, they have to fit into this one-hour time slot, and while they do this nicely I would like to see an extended version. You see when the play ends, I wanted more. Not more in the way that I am disappointed, but more in the way that I want to live in this world a bit longer. Like when you find a new favourite song but it’s only 1 minute 30, and you’re just like “give me more, I want to hear more!” I believe Eastwood has the capability to extend this play, and the cast have the ability to hold that space for longer. Honestly, I think I just connected with and appreciate this show so much that I want to breathe in this story a little longer. And after seeing the audiences astounding reaction, I cannot be the only one.

But while we wait for the possibility of an extended version, I would highly recommend going to see Sing Me the Sweetest Songs and supporting Wallflower Productions. This is a truly amazing show that feels poignant and important. Art like this is what we desperately need to see more of, and I can’t wait to see whatever is next for Josie Eastwood, the rest of the cast and crew, and Wallflower Productions.

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