“Whittet was one of a handful of standout performers….For me, Andrew Cutcliffe as Malcolm Fraser was perfection….but at three hours, the musical requires the
audience to commit and maintain their gaze.“
Julia Newbould
Four yes votes
Seymour
Time passes and memories fade and for many in the audience the antics of almost 50 years ago are just history. And for me, it’s a little like Alexander Hamilton sang, “who lives, who dies, who tells your stories…” And this story has taken on a mythological edge.
The concept of a musical based on The Dismissal is funny. One of Australia’s most divisive political actions becoming a musical. Does it trivialise? Does it parody this involved in the infamous sacking of Gough Whitlam in 1975?
The musical has a serious side – it’s a warning, a reminder and a little bit of a conscience stirrer. As billed, it’s a very serious musical comedy.
Clown and prankster Norman Gunston (played by Matthew Whittet) is the narrator of the musical and has some great turns – singing, playing the Shakespearean fool and interacting with the audience. At one point he asks an audience member if he is enjoying the show. The man says yes, and Gunston tells him – well, you should tell that to your face! Whittet plays Gunston to a tee. His mannerisms, appearance and timing are spot on.
Whittet was one of a handful of standout performers, many who played their roles during the original “pre world premiere” production in 2019.
For me, Andrew Cutcliffe as Malcolm Fraser was perfection. His accent, delivery, stance were eerily that of the former Liberal PM. His private school boys number was terrific and not just because the boys tore ff their long pants to expose their school shorts underneath. The song was later reprised as Private school girls – by Anne Kerr.
Justin Smith, seemingly Australia’s busiest actor – television, stage and musicals, is great as Gough. He seems so comfortable in the role. And it’s a great role. While the musical is based on his dismissal, so many other characters in the events steal much of the action on stage. In fact, Gough is almost the straight man to the those happening around him.
The first time I saw this musical, in the development stage in 2019, I learned so much. I had no idea about Rex Connor or Tirath Khemani. However, I did know about Dr Jim Cairns and Junie Morosi.
Rex Connor takes out a loan to prop up the dwindling government coffers with a shifty middle eastern businessman Tirath Khemani at ridiculously high interest rates. He tries to hide it, thinking no one will notice but then Khemani leaks the information to the government. And conflict stems from here. Both Rex (Georgie Bolton) and Khemani (Monique Salle) are amazingly good in their cross gender roles. They play them like pantomime characters which, now looking back on the real events, they probably were.
And Monique Salle also played the role of Queen Elizabeth and really gave it her all in what was the musical highlight to me – I’m not listening. This was a number reminiscent of a young Ruby Wax at her best, holding a pack of dancing ‘corgis’ in bondage gear. And again, there were shades of Hamilton’s King George III parody.
Ainsley Gotto- who my partner told me was every young man’s fantasy woman in the 1970s – was a great character played by Shannen Alyce Quan. Her plight as a smart, attractive, single woman in parliament brought the play quickly into contemporary relevance.
John Kerr and his second wife Anne didn’t translate well into 2023. The actions of the time were especially poignant with the current referendum and the yearning of many to distance ourselves from the crown.
Dr Jim Cairns was great – his tongue twisting innocently delivered double entendres were clever and landed well.
Central to the story was Chief Justice Sir Garfield Barwick whose Machiavellian manoeuvres were behind the dismissal. Peter Carroll played Barwick as the grinch – with long evil fingers and appearing only after a large puff of smoke. Musical royalty Nancye Hayes also played a part – hers was vocal only – as Miss Hayes – the secretary to Rex Connor.
The dismissal remains and important part of our history and the lead up to the eventual bringing down of the first Labor government in 23 years remains one of the most bitter political moments of our past. The incredibly creative team of Laura Murphy, Blake Erickson and Jay James-Moody have done a terrific job with the concept and creativity but at three hours, the musical requires the audience to commit and maintain their gaze.
Julia Newbould, Theatre Now
