Review - Hildegard/Knef

Hildegard/

Knef

Created and Performed by April Albert

Directed by Rachel Baring

Lighting/Set Design by Rob Sowinski

Projection Design by Matto Lucas

Sound Design by Cat Tyson Hughes

Dramaturgy by Daniel Rice

Costume Consultant – Rebecca Dunn

Produced by Danny Delahunty

Pianist – Mark Hunter

Northcote Town Hall – 16 to 26 September

Affecting, lyrical and entertaining Hildegard/Knef is a enlightening musical Theatre/cabaret piece that is very transportable and should have quite an extended life as a touring piece.  It is reminiscent of Drowning in Veronica Lake staring Alex Ellis, also a one-woman piece about a movie star - that has recently been touring and I caught in Kyneton earlier this year.  Both works touch on the very human vulnerability behind the stylish public lives of their subjects.

Photo of April Albert by Greta Costello

Hildegard Knef was born in 1925 and lived an tumultuous young life through the war in Germany.  She began acting at 14, was an actress, singer and writer, was married three times and had one daughter, suffered from breast cancer, and died of a lung infection at 76.   One gets the sense that she has experienced darkness, passion and plummeted to troubling emotional depths that informed her intense impassioned sultry performances.  Her voice was husky and deep and her You Tube clips are peculiarly fascinating to watch.

April Albert confidently and adeptly brings this damaged femme fatal to life before our eyes.  And doubtless she will reach past the footlights to touch her audience throughout the run, and in many more incarnations of this accomplished work, much of which is in German.  The whole is tightly choreographed and cleanly realized through direction by Rachel Baring.

Rob Sowinski has created a simple and delightfully lit set that is beguilingly ambiguous and economical.  Less is more and props are used economically to significant effect.

Pianist Mark Hunter who is strangely tucked away from view supports Albert impeccably and could, perhaps, offer another dimension if actually featured. 

As Albert relaxes and releases more through each performance, and channels more of the gusty character of Hildegard Knef, this work is set to stun audiences.

A strong and satisfying and intriguing work that can only grow.

Suzanne Sandow

(For Stage Whispers)