At first glance, No Love Songs, currently playing at the Foundry Theatre, Sydney Lyric, seems like a contemporary musical in the vein of RENT or The Last Five Years, promising a tale of romance and emotional highs and lows. However, the reality is far deeper—and far darker—than its title and marketing suggest. The show dives into the harrowing reality of postpartum depression and attempted suicide, themes that left many audience members visibly distressed, with some even leaving the performance in tears. While these issues are of critical importance and deserve exploration on stage, the production’s staging, lighting, and overall context did not fully support the gravity of the themes being tackled.
The narrative follows Jessie and Lana as they navigate the complexities of new parenthood, love, and mental health struggles. The emotional weight of the show is immense, and while the script makes a valiant effort to bring these issues to light, the production itself struggles to provide the proper framework for such a delicate subject. A less “rock concert” setting or a different approach to staging might have allowed for a more nuanced exploration, offering audiences a space to process the difficult material rather than being left overwhelmed.
That said, the direction by Andrew Panton and Tashi Gore is ingeniously simple yet effective. Their use of movement, levels, and space creates both physical and emotional distance between the characters, reinforcing the narrative’s themes. A particularly striking choice was the sharing of microphones between characters, symbolising the disconnect and shared struggles within their relationship. The seamless transitions between dialogue and music ensured the emotional intensity remained unbroken, maintaining a raw and immersive atmosphere.
Performance-wise, No Love Songs is a powerhouse. Keegan Joyce, portraying Jessie, delivers a standout performance, showcasing impressive acting depth and vocal prowess. His portrayal of a man trying to hold his family together while grappling with his own fears and insecurities is both moving and authentic. Joyce, who has been drawn to screen work in recent years, proves here that his stage presence is just as compelling—hopefully, Australian theatre will see more of him in the future.
Lucy Maunder, as Lana, is simply remarkable. With every role she takes on, Maunder pours her heart onto the stage, and No Love Songs is no exception. Her vocal control is masterful, effortlessly shifting from the light, whimsical tones of early love to the gut-wrenching power of a woman in crisis. While she has excelled in large-scale musicals, this production offers a platform to showcase the full extent of her range, both emotionally and vocally, proving that her talent knows no bounds.
Ultimately, No Love Songs is the kind of show you attend for the performances rather than the production as a whole. While its conflicting tone and distressing subject matter create a challenging viewing experience, the brilliance of its cast and moments of inspired direction make it a compelling, if not entirely cohesive, theatrical experience.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world trying new gin.
No Love Songs runs for 80 minutes (with no interval) and plays at the Foundry Theatre, Sydney Lyric through 13 April 2025. Tickets are available through Ticketmaster.
Disclosure: The Plus Ones were guests of AB Publicity.
Image credit: Brett Boardman
