Love Song Dedications (without Richard Mercer) Ten Tonne Sparrow
For ages: 15+
"A bonkers and exhilarating romp through the highs and lows of '80s and '90s power ballads, elevator music and hideously awkward encounters with matters of the heart. Tom Hogan and Bonnie Leigh-Dodds are side-splittingly funny in their hunt for the perfect love song. ★★★★½ " - The Age
In 2013, after 17 years of being on air, Richard Mercer left his final Love Song Dedication. It was Trisha Yearwood’s 'How Do I Live (Without You)?' Now, two friends attempt to fill the void that The Love God left behind. After listening to literally thousands of dedications, as well as too many earnest songs about unrequited love and the greatest love of all, Bonnie and Tom are neck-deep in their quest to find the perfect love song... erm, objectively. There Can Be Only One. This devised work promises a night of reassurance, full of songs you are ashamed you know the lyrics to. In a world of post-truths, ironic memes, anti-social media, 'Love Song Dedications (without Richard Mercer)' offers the ultimate therapeutic playlist. Irony will be truly dead, and only one question will hang in the air: “What is love? (… Baby don’t hurt me, don’t hurt me, no more...)“
Marketing selling points
The conceit of the show is that two friends have collected the 100 most requested love songs to find the "best" one. The biggest selling point has been the nostalgia around classic radio host Richard Mercer, as well as the trivia of big/classic love songs - from Celine Dion, to Etta James, to Meatloaf, to Adele. Radio stations in particular loved marketing and discussing the show, as well as their favourite love song memories, often with lengthy interviews and audiences calling in. We also created a podcast "Missing Richard Mercer" to attract new audiences of the podcast generation.
Key audience and marketing notes
The work is joyous, highly intelligent, yet carefree with a big heart. It was also nominated for Best Performance in the Melbourne Fringe Awards. Our audiences were strongest in millennial 18-55 year olds, but regularly had loudly engaged older crowds too. We've found the work is a great way to connect with audiences who don't normally attend theatre. It talks directly to audiences who enjoy comedy, and engages them with contemporary politics, using huge and easy to relate to pop culture references. There's a lot of poking fun of the conceits of theatre, for the more experienced viewer.
Community Engagement activities
Q&A's available with the cast/creators Workshops are available in devising theatre and movement (Directed towards high school), and spoken word performance (all ages), and Making Poetry Cool (beginners).
What is this?
|Technical specifications||Download Now|
|Theatre formats||Adaptable to most spaces - the wider the better, raked seating preferred due to occasional floor work|
|Bump in (hours)||6|
|Bump out (hours)||4|
Generic lighting rig required - warm wash, dim wash, green wash, red/pink wash, two spotlight specials (one central)
Stereo PA Mixing Desk One Microphone (can provide) Sound Interface (can provide) Licensed QLab (can provide) Laptop (can provide) Projector running from laptop
Four large boards (2.2m high, 1.2m across) fit across the stage, and actors perform around them. The boards can ultimately sit on the wings of the stage as long as they are clearly seen. Projection screen needs to be clearly seen - preferably high (2m+) and in the middle of the stage. If the space has levels/staircase, including raised platforms, we can also use them.
Stage dimensions (meters)
|Width: 7m||Height: 4m|
|Depth: 4m||Wing space:|
The space is adaptable, but ultimately the wider the stage, the better for us.