“A worthwhile and completely professional production“
Kate Stratford
3.5 strolling players
Richard Wherrett Studio, Ros Packer Sydney Theatre
March 22 – April 6
There is much to be lauded in Australia Felix, a production which examines the “life, tales, trials, sentencing and execution” of George Clarke. Clarke – the Flying Barber – has become part of the fabric of Australian lore. Convict, runaway, bushranger, explorer and diarist, Clarke embodies much of our concept of the rebellious larrikin who runs afoul of a judicious system which seeks to protect the powerful and grind the impoverished.
Performed through the conceit of Victorian travelling theatre troupe of the time, John MacNamara (a charismatic Rick Butler) leads his small band of actors through Clarke’s story. During the Victorian era, these travelling troupes (also known as bush theatre) would travel from town to town, performing in pubs and the outdoors, bringing Shakespeare and music and vaudeville and news presented as melodrama to the straggling and struggling settlements.
Geoffrey Sykes concept is inspired. To bring Clarke’s story to the stage through this largely forgotten genre of theatre informs the audience on several levels and allows the performers to shine. My plus 1 was completely unaware of this style of performance and its place in Austrian theatre. And the troupe were accomplished and professional with beautiful singing harmonies and concise characterisation. Mark Alexander, Rick Butler, Kate Stewart, Tisha Kelemen and Freya Moore all established their troupe characters quickly and moved easily in and out of multiple other characters. A showcase for their talents.
My caveat comes from the venue. Whilst the brick walls of the Richard Wherrett Studio may be atmospheric, the acoustics – coupled with an awkward audience layout- detracted from the very nature of this style of theatre. It is far more suited to an intimate cabaret / pub setting or apron stage playing. We changed seats after interval to hear and to enhance engagement, both which were problematic in Act 1. Sitting in front, it was almost a different show.
And speaking of interval, the piece is too long. It is hard for writers to let go of any of their darling new work but Act 1 could do with a little pruning to facilitate the dramatic composition and theatrical representation.
This new work plays for only five performances in this iteration. I imagine it could a fare well, with some judicious editing, on tour to regional venues. Not only as a homage to the travelling theatrical troupes of the past but a little bit of truth telling in our discussions of Australian History. A more heavily edited version could see it part of Theatre in Education (TIE) experience.
A worthwhile and completely professional production.
Kate Stratford, Theatre Now
