Picasso’s Women

Picasso’s Women was an expertly performed monologue production, simply staged by Harbour Theatre at Camelot Arts Centre. Featuring three superb performers, it explores the lives of some of Picasso’s wives and lovers.

The full script of Brian McAvera's Picasso’s Women features eight monologues, from eight of Picasso’s wives, girlfriends or mistresses, in chronological order, and was last staged in Perth by Blak Yak Theatre seven years ago, with the show being performed over two nights. This more bite-sized production features just three of the stories, the first, seventh and eighth from the complete series. It is thoughtfully directed by Jarrod Buttery.

Melissa Merchant played Fernande Olivier, an artists’ model who met Picasso in 1904. A beautifully frank and well-crafted performance, Melissa’s strong acting and lovely manner guided the audience into this performance style and we came to love this interesting character.

Anna Head played Françoise Gilot, mother of two of Picasso’s children, and author of the book Life With Picasso. Interestingly, her 100th birthday coincided with the Opening Night of this production, and the real-life Françoise is still alive - a well-respected artist living in New York. Anna brought life and verve to the only woman to leave Picasso, giving her great depth and nuance, in a strong performance.

After interval, Jacqueline Roque, who married Picasso in 1961 and was with him until he died, was beautifully portrayed by Sherryl Spencer. Showing lovely blend of anger and contempt for Picasso’s former lovers and children, this is a ruthless woman with naked ambition and determination, who in Sherryl’s capable hands is still very likeable - drawing the audience into her world.

The simple set appears inspired by Picasso’s cubist period, and is thoughtfully lit with a design from Rob Tagliaferri, with sound design from Vanessa Gudgeon. Costuming sets the era of each character nicely, with costume assistance provided by Jo Sterkenberg and Merri Ford.

This show can be a difficult ‘sell' at any time of year, but especially so in November/December, a peak performance time in Perth and a time when an ‘intellectual show’ can feel ‘a bit too much’. Those who did attend, were rewarded with three very strong performances in a well curated production.

Kimberley Shaw