NOTE: This review will not contain spoilers

Break-ups aren’t easy. If you’re lucky, it’s amicable. You know where to go next, and you learn from your mistakes. You get closure. This is a play about a couple who aren’t so lucky.

When We Were Us is a musical, written and composed by Kiwi-Canadian Catherine Zulver. Backed by the smooth, acoustic guitar of Tom Whaley, the two characters, Claire (played by Julia McDonald) and Dylan (played by Kevin Orlando), reunite after an eight-year break-up and see if there’s any reconciliation to be had. And if it’s even worth it.

From the moment we enter the Dome at BATS Theatre, we’re greeted by the two actors in a neutral position. Claire is staring forward, idly swing her legs off a block, and Dylan is invisible, wrapped in a blanket, facing the back of the stage. They’re just… waiting. The performance started long before anybody sat down in the audience. It gives the vibe that we’ve stumbled into them at the end of an extended break. It lends itself to an anxious energy which perfectly sets up the tone of the play.

Once the show begins, we’re launched straight into Claire’s mindset, and the songs begin almost instantly. They’re charming, well-executed, and incredibly funny at times. Both McDonald and Orlando have phenomenal voices, but they’re sometimes lost when facing the back of the stage. Something about the curtains seems to muffle them a little bit, especially with the guitar being played over the speakers. And I believe that’s sort of the point. Although it’s sometimes difficult to make out every word the performers are singing, there is nothing clearer than when they lock eyes and belt out the same lyrics in harmony. Every song has some version of this moment, when the performers connect with either the audience or with each other and sing with all their hearts.

The musical numbers aren’t the only place where the two actors’ chemistry shines. Despite initially playing characters who’ve had years and miles of distance between them, the energy between the actors is so warm and inviting. Claire shies away whenever Dylan makes eye contact with her, but McDonald and Orlando make sure that the brief eye contact is real and meaningful. The back and forth between the two is electric and their banter feels so comfortable and interesting to watch. There are so many moments in the show where one character’s eyes are just following the other as they walk around the clean, yet uneven set.

I really do like the set that Scott Maxim has put together here. It’s giving hospital Machu Picchu, an environment that presents itself as clean and spotless, but with uneven levelling, evoking the tumultuous emotional state of both characters. Lighting Designer, Riley Gibson, and Operator, Sophie Badrick, complement the stage with great lighting states that consistently draw the audience’s attention to where it needs to be. Shifting lights give the illusion of passing trains, and whirring pulses sell the ever increasing heartbeats in climactic moments. Rounding it all out is the great sound design that feels purposeful, rehearsed, and perfectly timed. Sound Designer, Cassandra Tse, has pulled together and immersive soundscape that really makes the audience feel like they’re looking in from a hospital doorway. Crowds bustle outside, trains veer past and call buttons match actors’ gestures on-stage perfectly. Set, sound and lighting combined work wonders to reflect the ever heightening emotions as the music swells.

And it’s great music too. Tom Whaley’s guitar is crisp and energetic. It always manages to capture the mood of each character and he’s constantly jamming quietly in his corner. He’s never out of time with the singers, and he’s always watching them to make sure he’s on-cue. The man’s enjoying himself and you love to see it.

When it comes to the story and characters, I found myself 100% invested in this relationship. It was clear what each character needed to do to accomplish their goals, and it really came down to execution on Writer, Catherine Zulver, and Director, Helen Mackenzie Hughes’ parts to nail the narrative. There are so many big moments in this musical that would all be spoilers, but suffice to say that the audience is constantly kept on the edge of their seats, see-sawing between the will-they and won’t-they of this relationship. I loved Claire’s desperation for closure. I hated Dylan’s audacity. I was shocked at the treatment of Bradley. I felt so strongly about everything in this story, and I know that I wasn’t the only one in the audience snapping fingers when Claire was spitting mad truths at Dylan. I even muttered ‘Get his ass!‘ right as the interval fell.

When We Were Us is an emotional rollercoaster of joy, shock, horror and satisfaction that redefines what closure can look like. For the millions of people in the world who’ve been abandoned for seemingly no reason, this musical is a salve for the wounds those experiences have left behind. I left the theatre feeling like I’d just gone through a year of therapy and even found a little more closure on some of the things in my own life. It’s a delightful commentary on growing up and moving on, and what that means to us as human beings. Ultimately, it’s a great musical that absolutely deserves your time this week.

To all of my exes: do NOT contact me.

When We Were Us is running from 23rd to the 27th of July, 6.30pm at BATS Theatre. Tickets available from the BATS website.

Disclosure: As a somewhat active member of the Wellington performing arts community, I have a vested interest in maintaining healthy relationships with my colleagues.
Having said that, I am not a liar, and there is zero bias in my reviews, shut up.

Also, tickets were provided to me for free by the production. Literally changes nothing, though.