Self Esteem live in London: Rollercoaster ride of a theatre show kicks off new era
Is this a sermon, a theatre epic, group therapy? Whatever it is, A Complicated Woman at the Duke Of York's Theatre feels defining in the already accolade laden career of Self Esteem. Is there anything Rebecca Lucy Taylor can't do?
Hearing these new songs feels like a rite of passage on Easter Sunday. The room is not only part of a movement, but witnessing something inspired, destined for glowing reviews and affirmation. So much so, even Madonna has been spotted in attendance. Is she now a 'Steemer' too?
It's easy to gush over something so emotive in a hotly immersive theatre setting. But the post hype that's coming from ticket holders and critics alike is well founded. In 75 minutes, you're taken on a rousing rollercoaster, a ride that flips your stomach, soul and emotional equilibrium. You don't know which way you're going to go, but be sure you're going to feel it.
The show opens in theatrical spectacle, a follow on from Rebecca's Sally Bowles at The Kit Kat Club, meeting The Handmade's Tale square in the face. A Complicated Woman, or what we've seen of her so far, is brought to life; set free. The choreography from here on in is genius, rave-pop belter 'Mother' is fearsome, funny and executed in quite terrifying convulsive movements, rippling throughout the meticulous ensemble. This is what the crowd came for, a ride only Self Esteem can stop – strap yourselves in.
The show is sprinkled with some hits from her second album Prioritise Pleasure. There's subtle twists though, Easter eggs for fans. So much thought and detail have been poured into this, where do you find the time Rebecca? But what's apparent here is that she's welcomed help now, even she recognises this on stage, stating the process of collaboration as 'healing'. Kudos to theatre designer Tom Scutt and the folks at Empire Street Productions.
The new songs don't just hold gravitas within the crowd but recent single 'Focus Is Power' propels everyone into rapturous ovation and embrace. Even the back rows stand in collective appreciation, singing back to the stage 'I deserve to be here'. It's all quite euphoric, even cathartic. What are we witnessing, is anyone else doing this right now?
'In Plain Sight', a song with Moonchild Sanelly is jaw dropping, spine tingling stuff. Moonchild on the big screen, tears rolling down her face with the ensemble staring back in worship. Light cascades through the stage, across the crowd and goosebumps are triggered.
Rebecca breaks character, or so we're led to believe as she sits down to have a chat with the audience. Can we take a breath? You must be kidding! She seamlessly merges this casual convo into the spoken word prowess of 'I Do This All The Time' and the audience are in the palm of her hand, chanting this fierce feminist gospel back to her. It's time now for the men to be quiet and listen: 'Be wary of the favours men do for you'.
After juxtaposing fragility with power, comes a crescendo in the jubilant form of 'The Deep Blue Okay', another new track and one befitting an encore.
It's easy to see why this new work found a place on the theatre stage. After all, it's a story, a journey, one of turmoil and captivity that leads to the ecstasy of freedom. No doubt the latest album will work on the road and in festival fields this summer too. Combined into a theatre show, it's nothing short of a masterpiece and one that's certainly going to leave its mark.
But Rebecca, one question. How do you eat a banana on stage and then sing a beautiful ballad? They're so claggy.
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