“For a different slice of this tasty tomato of a tale, go and see ‘Looking for Alibrandi’“
Vincent Andriano 4 /5 stars
Looking for Alibrandi’ is the story of three generations of Italian-Australian women dealing with the clash of old and new world values, age and authority, lessons and love thrown at them from all directions, and falling victim to their family’s dreaded “Alibrandi curse”. It began as Melinda Marchetta’s modern classic novel, then became a ground-breaking film, and has now hit the upstairs stage at the Belvoir.
As an Australian of Italian descent, myself, I was instantly chuffed to recognise the oh-so-authentic tropes of a typical Italian-Australian dwelling incorporated into the set, including a plastic cover draped over the gingham table cloth draped over a bi-fold table, surrounded by hardy outdoor furniture. I couldn’t help but smile at the Provence glassware tumblers from which the characters served every beverage – oh yes, I noticed them too, and know them all too well. Many plaudits and props (pun intended) must go to designer Kate Davis for their eye to such accurate detail. Although, the piece-de-resist-onzza, the feature putting the “grand” in grandiose beige and brown floral patterns, and the “mother” in smothering the entire surface of the pentagonal stage floor – was that perfectly ancient yet timeless carpet, which made me feel instantly at home… Nonna’s home, to be exact, where the play opens and closes.
The story revolves around Josephine Alibrandi (Josie) who’s at the painfully burdensome age of 17 and grappling against xenophobic elitism at school, the looming pressure of final exams, falling in love for the first time, and, of course, her overbearing family – ultimately, she’s determined not to “turn into another Alibrandi f*ck up”. Josie is played by the powerhouse Chanella Macri, who’s undoubted strength is in her comedy chops, but was no less commanding in portraying the tender and often tragic moments. Having the lion’s share of stage time, Macri was welcoming and a riveting guide for the journey.
The second of the three stellar mains is Christina, played by the transcendent Lucia Mastrantone, who provides a nuanced and sensitive performance as Josie’s single mother, saddled with the “deeply ethnic” scandal of her daughter’s not-so-immaculate conception and being cast out by an abusive father. Although, Mastrantone’s nearly show stealing work comes from her other role as Josie’s best friend, Sera, who’s loose morals, brilliant one liners and miracle-breast-growing-cream antics were stunning, hilarious, and made the crowd cackle.
The third in the leading lady trio is Nonna played by Jennifer Vuletic, and while she also seamlessly donned other characters, it was her superb rendition as Josie’s loveable, neurotic, “only strict because she cares” grandmother that was most enthralling to watch. Vuletic expertly channelled the verging on suffocating love of a standard Italian matriarch and sobered us with song and dance interludes, but her most arresting moment was surely during a revealing monologue towards the end, where you could have heard a pin drop in the theatre.
Notable mention should be given to the few remaining cast members. Ashley Lyons was exceptional as Michael Andretti who right off the bat shared one of those beautiful, effortlessly present, unspoken ‘uh-huh’ moments with Macri, when both of them realised that father and daughter had just accidentally met for the first time. John Marc Desengano played Jacobe, and successfully captured the cheeky wit and charming vulnerability of a youth from yet another just as challenging side of the tracks, proving to Josie and the audience that: “my 17 is not your 17”. While most of the actors were playing multiple characters, Hannah Monson had the unique task of portraying both a cis female and a cis male, who arguably come from two sides of the same type of privilege. Monson achieved this with subtle confidence, bringing to life both Ivy, the entitled High School Queen B-for-brat, who abuses the status of her parentage to look down on others, and, conversely, John Barton, a reserved young man tortured by the oppressive expectations of his MP father and the obligatory future that comes with his birthright. And encomiums must be given to whichever actors were shrouded in knitted shawls and black coats, AND whoever’s brainchild it was, either writer Vidya Rajan or director Stephen Nicolazzo, to include what I affectionately call the “Nonna-Ninjas”, spying on Josie’s every move. It was frighteningly close to reality, and wonderfully funny every time.
More evidence of Rajan and Nicolazzo making a strong writer and director team was the script sporadically oscillating between the primary English and occasional Italian, in casual conversation. It adds a fabulous authenticity and an almost voyeuristic peak into the private familial workings of a trans-generational immigrant home. This paired with the genuine 90’s battle between “wogs” and “skips” struggling to commingle, brought to light the enduring reality of Australia’s racially turbulent history and, sadly, its present. If there was one area I felt slightly left wanting, it was in Josie’s closing monologue, which, while poignant, may not have been enough to bring this mammoth yet intimate story to an earned resolution. Perhaps it felt too quick and neat, and not quite enough of a send-off – almost as if the character arc of Josie was a little short sheeted. In saying that, a beatific addition to this production was the continuous making of the sauce. Stacked crates of tomatoes were flanked about the stage, and from start to finish Josie, Christina and Nonna are either chopping, squeezing, straining or churning them into authentic Italian tomato sauce. They used this feature both literally and figuratively, however, by the end it is quite clear that the process was representative of this family’s life-blood: still surviving, still powerful, and still pumping… out sauce.
It would seem that there is indeed an “Alibrandi curse”, which is apparently a heart-warming tale whose humour, honesty, radiant social relevance and narrative longevity can survive not only novel and film incarnations, but now, I’m delighted to report, a stage play too. For a different slice of this tasty tomato of a tale, go and see ‘Looking for Alibrandi’ running until 6th November at Belvoir St Theatre.
Vincent Andriano, Theatre Now
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