REVIEW: Heartbreak Hotel

In the process of surviving having your heart broken there’s always the underlying belief that no one fully understands. Karin McCracken fully understands. 

Heartbreak Hotel lays bare McCracken’s journey through the heart(break) of darkness, capturing the ugliness, insanity and hilarity of being left in a way very few pieces of writing have. The show takes on an almost cabaret feel, seamlessly transitioning between audience connection and anecdote, scenes from the years surrounding the breakup, renditions of iconic breakup songs, as well as scientific explanations of the physiological effects of heartbreak. 

This unique format perfectly complements the non-linear, nonsensical experience of working through grief, while also providing us with clear stages of recovery. These original stages of grief are chaptered game-show style via teleprompter, and when combined with the clinical research, legitimise and validate the brutality of heartbreak without glorifying it. Heartbreak Hotel’s take on suffering is visceral and intellectual, and so incredibly helpful in its honesty it would be impossible to leave without a little bit of hope. 

McCracken is joined by Simon Leary, who masterfully embodies all of the other characters in the narrative. The pair’s chemistry and comedic timing give every scene authenticity no matter how choreographed. Their ability to shift between succinct, raw emotion and drawn out, awkward comedy is a joy to witness. Leary falls naturally into every scene, creating immediate clarity over years of encounters. 

At the heart of Heartbreak Hotel is observing McCracken, our charismatic, well spoken host, be reduced to the depths of human despair. One of the reasons this show is so effective is that despite the story being told from Karin’s perspective, the level of self awareness in addressing her own imperfections removes the implication that she has been victimised. The script exposes subconscious self criticisms in patterns and behaviours, taking accountability for her part in the breakup without being self deprecating. Her ex is not the ‘bad guy’. Through gradual build up of context (and brilliant callbacks) the payoff of the show is the understanding that we are not defined by our most vulnerable moments. McCracken performs self-proclaimed imperfect covers of very famous songs, simply because they have captured a feeling that people connect to. In an industry obsessed with replicating perfection it’s so refreshing to be met with something so human. 

Technically the show went off without a hitch, the production, sound and light design creating clear transitions and settings without the need for much visual aid. Eleanor Bishop’s direction was flawless and fun; Bishop and McCracken’s EBKM clearly a partnership founded in a unanimous vision for producing authentic theatre. 

Heartbreak Hotel is the most gut wrenching stand up routine, an incredibly painful watch, and somehow the most helpful resource in surviving a broken heart I’ve come across. The Fleabag-esque balance of comedy and humanity is perfect for anyone who has lived experience of losing love, but also contains a fascinating deep dive into the human psyche if you’re lucky enough not to know how it feels. This show, rather than existing to traumatise, exists for understanding and connection, and I’d recommend it to everyone. 

Heartbreak Hotel is playing in the Fairfax Studio at Arts Centre Melbourne until July 19th.

5 out of 5 Stars