Guy Pearce is well known for his work on the silver screen: he is undeniably a cherished, locally grown talent. (Born in Geelong!) But how many people know that this household name has an incredible voice and writes powerful, original music?
For one night only, Guy Pearce launched his second album, The Nomad, surrounded by a group of very talented musicians at Arts Centre Melbourne. He peppered stories and conversation between most songs, often explaining the emotional history behind each tune. Guy Pearce is so comfortable onstage it relaxes every person in this room of hundreds, allowing every word of storytelling – spoken or musical – to find its truth.
If you’ve never heard it (and you should), Guy Pearce’s music and his unique, powerful voice remind me most of classic ‘70’s Bowie. Pearce’s music soars as if it’s flying – sometimes through a clear sky, and sometimes through heavy, grey clouds. He declares many times throughout that The Nomad was born out of heartache and despair, after his marriage ended in 2015 – and while most tunes are undoubtedly melancholy, Pearce’s raw joy in performing them for us is empowering and uplifting.
Pearce’s lyrics are an exploration of truth and humanity. He thrusts his whole heart into these songs as a true performer, but still carefully allows the lyrics space to breathe, giving us a chance to reflect on their meaning and our own interpretation.
The gorgeous set by Jacob Battista could have been straight out of Twin Peaks, and really created the comfortable atmosphere for the night. Dozens of lampshades were suspended above the stage, and when joined with armchairs, curtains, and a faux brick wall, the relaxed, conversational loungeroom atmosphere truly came to life.
Guy Pearce performed 8 July at Arts Centre Melbourne. His album The Nomad is available now on streaming services (Spotify, Apple Music) and for purchase both digitally and in-store.
Play Dead Theatre brings Festen to the lavish Ripponlea Estate
By Leeor Adar
The Danes sure know how to put on a family affair… from Shakespeare’s Hamlet to David Eldridge’s take on the Danish film ‘The Celebration’, in Festen, the audience must once again question whether the prized son is a raving lunatic or a man on a quest for truth.
The production of Festen is performed in the ballroom of the heritage listed Ripponlea Estate, which is an astonishingly fabulous choice of venue. The gorgeous interiors are surely a treat for Set Designer Diane Jouvet, and Costume Designer Helene Marie Froisland matching luxe against luxe. Festen is a feast for the eyes, and I am admittedly easily absorbed into the grandeur of this world.
On the 60th birthday of patriarch, Helge (Adrian Mulraney), his family find themselves reunited in his grand home for the first time since the evident suicide of one of his daughters, Linda. The opening scene begins with valets rushing about in preparation for a family feast, and it is quickly established that the arrival of one of Helge’s sons, Michael (producer Michael Mack), is unwelcome. Michael is flanked by his beautiful wife Mette (Hester Van Der Vyver) and their young daughter (Isobel Henry), and quickly establishes himself as a brute without cause. Greeted by Linda’s living twin, Christian (Mark Yeates), it is apparent that the siblings are of a starkly contrasting disposition. After the arrival of middle sister Helene (Aimee Sanderson), it is obvious Christian is favoured by his father above the others, but it is soon revealed over the course of the dinner, that it came with a dark and harrowing price.
Grappling with tragi-comedy is nothing new for Director Jennifer Sarah Dean, an award winning writer and theatre director, and her capacity to direct thoroughly entertaining theatre has become her trademark. Her direction here is excellent in her use of space, and the effortless interactions between the cast as they fill up the space, each living out their own experience of the evening’s events. I found the ebbs and flows of the quiet reserve of the dining table marvellously contrasted with the sudden ruptures in the peace. It feels utterly real for the audience, who are spectators to the disintegration of the family, and all the embarrassment and cruelty that it entails.
Overall the cast are excellent. Yeates’ Christian is quiet and subtle and all at once burning with what he wants to reveal. This contrasts so well with the stern and unrelenting performance of Mulraney as the patriarch. At first far too shrill and false, Sanderson’s Helene is soon revealed like her brother Michael to be crushed under the weight of their parents’ gaze, and the moment where she reads Linda’s letter to the dinner table was quietly poignant and heartbreaking. Tori McCann’s Pia, a maid to the family, and lover of Christian, is excellent in her supporting role, anchoring the indifference of the family with her genuine care. The remainder of the supporting cast offer great humour, including Richard Moss as the drunken and forgetful Grandfather, Jonathan Peck as Helmut, the wannabe son of Helge, Tref Gare as Poul, who mingles depressive and joker expertly, Victory Ndukwe as Helene’s boyfriend Gbatokai, who stirs the racist ugliness of his lover’s clan, and Liam Seymour as Kim the chef, who urges Christian on in his battle for transparency.
Despite the dark and murky waters Festen journeys through, its ending leaves a feeling of emptiness, that nothing was truly achieved by all the truths it reveals about the humanity of its characters. In the effort not to reveal the ending, I felt that the family sitting for breakfast the following morning after the night’s events was not so much an exercise in healing, but rather the final nail in the coffin of the burial of the truth. While the truth is acknowledged, this cold family do what only feels natural to them – to forget. They forget the abuses, the easy racism, sexism and classicism, and carry on. In this way, Eldridge’s play is a critique of this particular kind of family. They are satirised and both admired and derided by viewers, but we all secretly love the dinner parties and the gowns, no matter how rotten the interior.
Overall, Play Dead Theatre’s Festen is an admirable effort of a production – however I can’t shake off the feeling of hollowness… perhaps that’s just how good it is.
The Melbourne Magic Festival is adding a twinkle in the eye and sparkle of delight to these cold July weeks. I was treated with tickets to The Best of the Magic Fest which is a chance for audiences to meet different guest magicians every night, a chance to laugh, gasp and wonder how they do it. Hosted by multi-award-winning magician, comedian and all-around swell guy Nicholas J. Johnson, the Friday night show presented its full house with three charismatic experts: Mr Marmalade, Tim Ellis and Lawrence Leung.
It’s hard to review or retell magic without giving anything away. Nothing really can replicate the wondrous feeling of delight that springs from the flourish of the magicians’ tricks. The types of magic used were close-up, sleight of hand, storytelling, telekinesis and telepathy. Host, Nicholas J. Johnson, warmed up the expectant crowd with his take on some old favorites. The thing that I loved most was how upfront and raw it was, in an intimate venue and with each magician’s spontaneous banter – it was edgy and stripped back.
Johnson kept the pace rolling as he threw in a few tricks between each act, making us feel both at home and transported to this wonderful world. Magician number one, Mr Marmalade, was as smooth as a dram of Laphroaig 10 and more dapper than the man on the Hendricks bottle. He crafted a multidimensional performance with quirky physicality and sultry tones. At one point he dropped a few cards which made the expectant air of “is he going to get it” even more exciting.
Next, award winning magician and Artistic Director of MMF Tim Ellis, told a story with cards and class. Ellis included some delightful audience participation that was refined rather than naff, and boasted an overall polished presence in a luxe velvet blazer. The final magician, Lawrence Leung, was relaxed, lovable and brilliant. Telekinesis and telepathy usually makes me tip my head to the side skeptically, but he completely proved me wrong. I enjoyed it so much I forgot to take notes, all I wrote was “WOW”.
The staging was simple and suited the The Secret Room at Circus Oz. It emphasised the skill of the magicians who didn’t need any flashy lights, backdrop or water tanks to have their audience whooping and cheering. My only critique is that many of the tricks were performed on a table and from where I was sitting I couldn’t see everything, and the people around me also ducked their heads to catch a glimpse. There are countless moments in this show you really don’t want to miss.
The Best of the Magic Fest is a great night with variety, cheek and high-class magic that makes you put your hand to your face wondering what is going to happen next. What’s brilliant about magic is how it brings out the child in all of us, and this show does exactly that and wraps it in an enjoyable adult package. It’s a perfect introduction for the rest of the Melbourne Magic Festival’s July program.
Inspired by the European cabaret halls of the 1800’s and 1900’s the Memo Music Hall opened it’s doors to showcase the youthful neo-circus production, St Kilda Royale. The heart and soul of the night was led by the energetic four-piece jazz and swing band, The Shuffle Club. The players were professional, talented and kept the momentum of the show pulsing forward throughout the night. Weaving in and out of the musical tunes were your favourite contemporary circus numbers including acro balance, juggling, hula hoops and a splash of modern burlesque.
The thing I love about circus is that there’s such a thin line between amazement and catastrophe. Performers hold the audience captivated in the moment, and have them wondering if such a stunt can be pulled off? In most cases this was the case at St Kilda Royale, but things didn’t always go to plan. A stray juggling ball and a couple run away hula hoops flung into the crowd, but it just added to the fun and the excitement of the live performance.
My favourite act of the night was hands down a percussive juggling piece starring Joe Fisher and Shuffle Club front man who pumped out snappy beats on his mini drum kit. The duo successfully created a visually and musically engaging number. Followed closely by a romantic, fire eating, slash throwing number – again something I often didn’t see in my circus going days.
The transitions between items were smooth and the lighting design was basic, but effective. The performance was raw and brilliantly rough around the edges, and the night was filled with energy and fun that left the audience in high spirits. The cast have great potential and I hope to see them back on the stage again very soon!
Superhero of revenge, Blackie Blackie Brown, is hilarious and subversive
By Lois Maskiell
You know you’re in for a killer ride when an archaeologist turned superhero embarks on a revenge quest after the discovery of her great-great-grandmother’s skull. Nakkiah Lui’s Blackie Blackie Brown: The Traditional Owner of Death has opened at Malthouse Theatre after its premiere at Sydney Theatre Company. Armed with ironic humour and shocking violence, it’s a powerful combination that makes for biting political commentary and pokes – not just fun – at issues rooted in Australian society.
Dr Jacqueline Black (Dalara Williams), an archaeologist and cultural surveyor, is employed to assess the building site for a new factory. Her manager Dennis (Ash Flanders) couldn’t care less about the skull she finds or the mass grave she discovers, caring only for business to continue as usual.
When the spirit of Jacqueline’s great-great-grandmother (a projection of the hilarious Elaine Crombie) springs from the skull, Jacqueline relives the massacre in a potent performance of richly visual language. In her vision she’s instructed to kill the remaining 400 descendants of the man who raped and murdered her great-great-grandmother and massacred her ancestors some 200 years ago.
Ash Flanders and Dalara Williams. Photograph by Phoebe Powell.
The superbly vivid content that features sharp lighting effects, spirits and spatters of blood makes for visually gripping theatre. This is aided by Oh Yeah Wow’s ingenious animation and Emily Johnson’s concept design that together beef up the lean cast of two. Director Declan Greene (of Sisters Grimm and current Resident Artist at Malthouse) uses their projections – with animated characters interacting with live performers – in a novel blend of theatre and film.
Blackie Blackie Brown can hardly be called comedy as there are moments that clearly no one should laugh at. As the action oscillates between comedy and violence, anxiety is built up before it’s abruptly broken with comedic relief. Take the encounter with the man clad in KKK robes as an example: We hear him whinge about being called a bigot claiming instead to be a “traditionalist” with a right to “free speech”. He then launches into a series of racist jokes about Indigenous people. The comedic relief follows when Jacqueline responds with her own joke, “Whaddaya call a dead white man?”
These moments that confront colonialism and racism head-on are pressed against a playfully blood-thirsty revenge plot. The humour provides not only relief but also arouses a sense of discomfort – such is the skill of Nakkiah and the team.
Dalara Williams as the mild-mannered archaeologist is understated and relatable, which no doubt helps win the crowd’s support when she transforms into the avenging superhero Blackie. Ash Flanders transitions between characters brilliantly, showcasing his vocal and comic power in roles that range from a young hippy to all of Blackie’s targets.
Toward the end the plot grew somewhat fragmented and technical difficulties, though expected on opening night, made it hard to follow. Despite these minor setbacks the production was utterly original and outstandingly produced. In this hilarious revenge thriller Nakkiah Lui takes pertinent issues of colonialism and race and soaks them in subversive fun.
Blackie Blackie Brown: The Traditional Owner of Death is sharp, ironic and packed with political commentary.
Blackie Blackie Brown: The Traditional Owner of Death is being performed at Malthouse Theatre until 29 July. Tickets can be puchased online and by calling the box office on 03 9685 5111.
Circus Oz’ Precarious has audiences smiling minutes in, gasping minutes later and applauding for many minutes more
By Joana Simmons
2018 marks Circus Oz’ 40th anniversary and if their new show Precarious is anything to go by, the company is far from a mid-life crisis and much closer to getting better and better with age. Set in the newly located big top in the Royal Botanic Gardens, this high-class show features a cast of multi-skilled circus artists and musicians. I was smiling minutes in, gasping minutes later and applauding for many minutes more.
The story of the show is simple: set in an imagined world, a bureaucracy called The Ministry of Seed control nature like a group of bumbling, tumbling fools. Times are precarious, good seeds are scarce, humans have a big impact on the environment, in fact they have the power to make everything come toppling down (literally).
The opening number features ambient sounds, which are looped to create layers and layers within this quirky world, as the cast deconstructs a giant tower of jenga blocks painted like a forest. From the get go their energy as an ensemble is a strong force, as they tumble, roll, balance, throw and catch each other fluidly. The conflict arises when one special seed goes missing and the apparatus and methods that all the performers used to get it back still have me in awe.
Artistic Director Rob Tannion and co-director Kate Fryer must have one incredible dynamic to produce another outstanding production for Circus Oz. I was fortunate enough to review last year’s Model Citizens which was this killer combo’s debut. The circus cast of Tara Silcock, Dylan Singh, Tania Cervantes Chamorro, Jake Silvestro, Jon Bonaventura, Emily Gare and Lachlan Sukroo each had standout moments across their apparatuses and in their supporting roles.
Peformers Jake Silvestro, Lachlan Sukroo and Tania Cervantes Chamorro. Photograph by Rob Blackburn.
Those who had me on the edge of my seat were Jake Silvestro in his rue cyr act full with smoky haze, Emily Gare with her balance blocks, Tania Cervantes Chamorro’s aerial slings and Lachlan Sukroo on something I have never seen before: swinging Chinese pole. Sukroo was like a monkey, only much more elegant. I found Jon Bonaventura to be a beautiful dancer and his hand balancing act featured incredible flexibility and was so well choreographed. Characterwise, all performers were absorbed in the world they created. I didn’t see any facial expressions that gave away the hours of training and effort that must go into their craft.
The comic duo of Sukroo and Silcock carried much of the story. The overall show stealer though was Tara Silcock. From doing hula hoops whilst swinging in the air, to every small and hilarious facial expression – I couldn’t keep my eyes off her – she was equal parts fearless and charismatic.
One of my favourite parts of this show was the live music. Musical director Jeremy Hopkins has created and performed a joyfully dynamic soundtrack with a huge range. There was not one point where he was not drumming, singing, looping, clapping, creating voice overs and who knows what else. Hopkins was supported by Sophia Exiner on keys, synth and vocals and together the pair created a full-scale sound that was perfectly suited to each act.
Other parts of the production that deserve congratulations are Laurel Frank’s costume design, Maddy Seach’s lighting design, Michael Baxter’s set and prop design and Andrew Dyson rigging that had him climbing to the very heights of the big top, only to slide down a ladder minutes later.
Circus Oz is made up of “creative maveriks, ground-breakers and risk takers.” Circus is far bigger than the canvas walls – it’s what makes us want to play again, delight in the gravity defying and marvel at magic. When work-life balance feels like the thing that is most precariously on the edge, escaping to a show like this, in a stunning setting, is an absolute joy. Buy a ticket, or twenty, as Precarious is highly enjoyable for everyone.
Precarious is being performed 26 June – 15 July at the Circus Oz Big Top situated in the Royal Botanic Gardens, Victoria. Tickets can be puchased online and by calling the box office on 1300 665 915.
For information about audio described performances, Auslan interpreted performances and companion cards, take a look at this access ticket webpage.
Melbourne Cabaret Festival Opening Gala: a terrific taster of this year’s festival
By Bradley Storer
At the opening night gala for the Melbourne Cabaret Festival, we were greeted by Melbourne cabaret fixture Dolly Diamond and from the very start we were in safe hands. Dolly wielded her signature sass to maximum effect throughout the entire night, firmly guiding the evening with confidence and with renditions of the iconic ‘Cabaret’ and ‘That’s Life’ as only Dolly could deliver.
The proscenium arch erected for the night, pointed out by Dolly in her opening monologue, along with the light fixtures attached around it were used alongside a dark back drop interlaid with small star-like globes. This construction gave a wondrous and dramatic effect throughout the entire show, courtesy of Tom Willis’ creative lighting design.
Alyce Pratt in a section from her show ‘Someone’s Daughter’ – backed by band members Clare Moore, Steve Paix, Frank Di Sario and Pete Farnan – was utterly beguiling and enchanting. Dressed in a sparkling white gown beneath a black coat, she drew the audience in with compelling and mysterious original song writing. Her songs were interspersed with familial story and self-deprecating allusions, before climaxing in a ferocious performance of Jacques Brel’s ‘Amsterdam’ that whipped the audience into raucous applause.
Max Riebl, accompanied by Adam Cook on piano, followed by showcasing his glorious counter tenor voice in excerpts from his show ‘Hard to Handel’. The pairing of Elvis Presley’s ‘Young and Beautiful’ with the Handel aria ‘Con rauco mormorio’ worked beautifully, Riebl’s gorgeous tone and technical mastery in the coloratura sections delighting the audience. In the performance of Radiohead’s ‘Karma Police’ which came after, Riebl produced such beautiful and spine-tingling notes that it was tempting to just sit back and let his voice wash over you in opulent waves.
Justin Clausen and Jamie Burgess brought the first act to a close in spectacular fashion with a preview of their show ‘He’s Every Woman’. Accompanied by Burgess on piano, Clausen entered through the crowd belting Celine Dion’s classic power ballad ‘The Power of Love’ in a suitably fabulous ruffled white gown which then quick-revealed into an equally fabulous black leather ensemble for a rollicking rendition of ‘River Deep Mountain High’. Clausen’s flawless pop vocals combined with Burgess’ charming banter were the perfect end to act one of the opening gala.
After intermission and a special presentation to patrons of the arts Margaret and Ron Dobell along with Drew Downing brought the audience back in with songs from his upcoming show ‘God Only Knows: The Songs of Brian Wilson’. Although there was shakiness to the performance (with Downing admitting that his piano-playing was outsourced to another musician in the full show), the enthusiasm of the band and backing vocalists Seth Drury, Courtney Glass, Callum Warrender and Ashlee Noble helped carry the buoyant joy of ‘God Only Knows’, ‘Surfer Girl’ and ‘Help Me Rhonda’ out to the audience.
The standouts of the night were Erin Hutchinson, Tyler Jacob Jones and Joshua Haines presenting the original compositions of their show ‘What Doesn’t Kill You [Blah Blah] Stronger’. Telling unbelievable (but true!) stories of survival, the trio had the audience in hysterics with the macabre tale of the ‘Army of Cats’ and the delightfully upbeat but horrifying calypso stylings of ‘Things People Do to Survive’, complete with snappy banter and choreography.
Danielle O’Malley closed the night with a section of her tribute show, ‘Nancy Sinatra: You Only Live Twice’, with a backing band including Mark Jones, Tristan Courtney and James David. O’Malley delivered a slick and commanding performance as the eponymous ‘60’s pop star with vocals that outstrip even the original, bringing the evening to a close in a roof-raising ‘These Boots Are Made For Walking’.
A terrific taster of this year’s festival, which promises for even greater delights to come over the next few weeks!
The Melbourne Cabaret Festival runs until 1 July at Chapel Off Chapel and showcases up to 10 performances daily. Tickets can be purchased online and by calling the box office on 03 8290 7000.
Mike Oldfield’s horror-film-famous score performed by two
By Leeor Adar
Mike Oldfield’s debut masterpiece, Tubular Bells, sent shivers through our dreams for decades after its feature in the 1973 film, The Exorcist. Oldfield’s record was the first release of Virgin Records, where the ever-entrepreneurial Richard Branson took a chance on Oldfield’s unusual sound.
It’s worth noting here that the piece in its entirety is so much more varied and beautiful than those first few notes that became horror-film-famous. Any progressive rock aficionado listening to the whole recording would have to admit its multitude of instruments and complexities make it a hard live performance.
How about performed in its entirety by two?
The concept is kind of insane, but it has been a successful endeavour by Daniel Holdsworth and Aidan Roberts, who co-created the performance in 2010 and were surprised at the appetite of their Sydney Fringe Festival audience. It not only become a sell out show, but also received the Best Music Moment award. After performing extensively through Europe and the United States, Daniel Holdsworth returns with a new partner in madness, Thomas Bamford, for this year’s Australian tour.
In all frankness, I did not know what to expect. I have a strong familiarity with Mike Oldfield’s music through my mother, who sailed this globe through the 1970’s and is a bonafide authority on very cool music of the era. It was a treat to hear Tubular Bells live, and performed by two men with 20 instruments.
Full house again on the Saturday night performance at the Melbourne Arts Centre, and the audience was transfixed, whether on their heydays, or just awed by the sound and the sheer hard work of Holdsworth and Bamford. It’s a sight to behold, as the men expertly craft the sound and attempt to keep true to Oldfield’s music. It is an exercise in fortitude, as Tubular Bells demands its maker’s rhythm and soul. One moment Holdsworth is smashing his drums and growling, and the next on guitar churning out such peaceful melodies.
Tubular Bells for Two is a must-see for music fans anywhere in the world. The music if fantastic, and even where a moment is missed, as my mother keenly pointed out, it was breathtaking to watch. Holdsworth regaled the audience with some of their tour stories, including the man who found him after a show and pointed out all the times the music they performed did not exactly meet the timing of Oldfield’s piece.
For the kooky diehard fans, they will absolutely enjoy Tubular Bells for Two for the reminiscence, and emerging fans will love the performance and music.
Both will agree that it is an engaging, sometimes funny, and totally skilled performance.
Tubular Bells for Two was performed at Melbourne Arts Centre 15 – 16 June as part of their tour of Victoria and New South Wales that runs until 14 July. For a full list of tour dates and ticket information take a look at the Tubular Bells official website.
Daring and exciting fusion of circus arts and classical ballet
By Lois Maskiell
The National Institute of Circus Arts has joined forces with the Australian Ballet School in the bold, large-scale production, Le Sacré. With over forty bodies on stage, directing this large work, which fuses two distinct art forms as well as showcases diverse student talent, is no easy feat.
The directorial team includes NICA’s Movement and Performance Coordinators Zebastian Hunter and Meredith Kitchen along with Simon Dow, the Resident Choreographer at the Australian Ballet School. With additional creative input from Francois-Eloi Lavingnac, these collaborators have devised a piece using all the right key ingredients. Though despite the advertised aim to expose the themes inherent in Nijinsky’s the Rites of Spring, I found that the narrative development left any deep exploration of its themes to the wayside.
What was identifiable was two distinct parts: the first filled with riotous dance scenes and the second filled with smaller acts and the ceremonious choosing of the young girl or sacrificial victim. One ingenious directorial choice was how the ballet’s story is transferred from a pagan world of ritual to a twisted ball where power constructs are playfully altered through a camp aesthetic mixed with a techno sensibility.
The technical abilities of these bold, young students are manifold. Their talent is abundant, particularly during smaller group acts that made me wish for more solos. Standout performers include Georgia Webb, a chameleon of skill whose aptitude for acrobatics is as dynamic as her skill on lyra, rue cyr and hand balancing. Straps performer, Troy Griffiths had an intriguing presence, covered in tattoos and endowed with grace and flexibility, he was a brilliant embodiment of circus’ power to subvert the mundane to something extraordinary.
Stark and beautiful choreography was found in a visually poetic rue cyr act that featured three wheels. Jessie Carson on dance trapeze was serene and of a penetrating icy calm. Her timing was in complete unison with her apparatus and like a seasoned performer she didn’t reveal a hint of exertion in her execution.
The ballet dancers doused the show with energy and elegance, approaching their form without such distinct specialisations as found in circus. With powerful leaps and complex foot work, the differences between the two art forms were exposed. An exceptional skipping rope act involved classical ballet steps accomplished in the minute gaps of the rope’s swing. The pas de deux and pirouettes in the second half were exact and powerful.
The stirring result of circus arts and classical ballet coming together in such a novel and bold production as Le Sacré is exiting to say the least. Collaborations like this do push boundaries and it would be wonderful to see more in the future.
An achievement of storytelling saturated with rain and feeling
By Leeor Adar
Jada Alberts is an exceptional writer and member of the creative community. Her first community, as an Indigenous Australian, is that of her family, and her family have lived and breathed realities that were not their choice to create. So Alberts creates, and as a storyteller she can take the tragedy of losing a loved one and make it a powerful conversation about grief. For a first foray into the world of playwriting, Alberts’ Brothers Wreck is an aching and loving work, despite its shroud of suffering.
Jada’s grief for those she’s lost and the lives of her people runs deep, and Brothers Wreck is a potent “love letter” to her own family. In Brothers Wreck, a family must manage their loved one coping with the aftermath of a suicide. With an existing high rate in young male suicides, Indigenous Australian men are at an even greater risk. From the biting account of his every day roadblocks, Ruben (Dion Williams) recounts his frustrations with the world to the Court-appointed counsellor, David (Trevor Jamieson). Ruben’s anger is palpable, and no reason will quench the deep sense of injustice he feels towards his world. Fiercely protective of his family, we learn that he was unable to protect his friend and cousin, the unseen Joe, from himself.
Ruben’s struggle reaches a fever pitch with the terminal illness of his mother, and the arrival of his aunt (Lisa Flanagan), an uncompromising powerhouse of a woman who refuses to give up on him. In truth, none of those around Ruben, including his sister (Leonie Whyman), and cousin (Nelson Baker), will give up on him. Confronted once again with the gloom of death, Ruben’s nightly visitations to the past deepen his addictions and sense of gloom.
Featuring from left to right: Trevor Jamieson and Leonie Whyman. Photo credit: Tim Grey.
The oppressive heat and thunderous downpours of Darwin serve as a brutal backdrop to this family’s saga. With harrowing recollections of the past, including a haunting account of death, Lisa Flanagan’s performance as Ruben’s aunt is the absolute standout in this production. Her arrival upon her family brings the storms, and the opportunity for healing. Supported by a stunning cast, Alberts directs a deeply moving performance literally saturated with rain and feeling.
Dale Ferguson’s staging becomes another character in this production, as the stage feels like a glib prison, with doorways made of metal-screen netting, and drains to collect the water that intrudes upon the stage. It’s a fantastically considered set: its prison-like qualities a reminder of the excessive incarceration of members of the Indigenous community, and the sense of hopelessness and poverty that pervade the characters’ lives.
Despite the focus on mental health and death, Brothers Wreck is a hopeful, often funny, and poignant play about a family and its refusal to collapse in the face of hardship. Momentarily uplifted by this warmth, I am reminded that family cannot be the only hope for a community, there is so much more work needed to bridge the almost insurmountable gap between Indigenous Australians and the rest of the nation.
Alberts’ work is an achievement of storytelling, and I hope to see more of her writing in the future.
Brothers Wreck is being performed at Malthouse Theatre until 23 June. Tickets can be puchased online and by calling the box office on 03 9685 5111.
Theatre Press 