By Jennifer Beasley.
Political satire, Queer history, crisp writing and exemplary acting and directing makes this meta play a standout for the Midsumma Festival.
Aside from the title being a colossal mouthful (yes, pun intended. It’s a Queer festival after all, although the moniker, The Queer Kingdom, is preferable), there is plenty to love about A Comprehensive & Profoundly Queer Accounting of the Brief (Yet Glorious!) History of the Gay & Lesbian Kingdom of the Coral Sea Islands.
Written by one of the sharpest satirists in Australia, Tom Ballard, and winner of the 2024 Queer Playwrighting Awards, I was excited to view this play as I try whenever possible to watch his works.
Held at Gasworks, which is celebrating 40 years of artistic support, this political satire rocks along like Trump evading the Epstein files.
I can imagine that this play presented some challenges for director Lyall Brooks (Refined), due to its layering of timelines (Anderson’s character tracing his royal lineage and links to William Purcell), the many character roles, mixed media and its snappy 70-minute pace, segmented into chapters as scene breaks. However, I never felt it was too much, and the cast of four flow like champagne through the many scenes.
The best political satire binds up the events in pointed and intelligent commentary. I was unaware that there had been a Queer Kingdom. Protesting the Australian’s government rampant homophobia, a small queer enclave sailed off on a fishing trawler that they renamed ‘The Gayflower’ and set off to find their own gender liberating country. Anderson chose Cato Island, 350km off Queensland, is crowned king by his followers, and later upscales to Emperor.
Garnering world-wide support and producing their own stamps, The Queer Nation existed from 2004 until 2017, when the Australian Government declared Queer marriages legal. Dale Parker Anderson then dissolved the Queer Kingdom, ceding ownership back to the Australian Territories, and retracting his expression of war on Australia.
Yes, you read that right.
War. You do need to see this play to see why.
I have never heard of this history before (thinking from the title that it was a send up of the musical South Pacific!) so well done on this play. In my opinion it needs to be mandatory viewing, both to educate on a seemingly erased part of Australian History, and to build respect and notice of Queer rights.
Now, the cast.
Andy Ballock (The Wedding) plays Dale Parker Anderson. Ballock has matured as an actor, and he shines as the rightful star of this show. His energy is engaging, and his repeated mantra, ‘I’m shy’ is a wonderful opposition for this very out-there and openly gay character. But after seeing Ballock doing improv, I believe he can turn his hand to anything – except the splits, but the audience was glad he hilariously tried!
Supported by a delightful Elliot Wood (Storked), his innumerable roles, interchanging from The Queer Chorus with his fellow actors into the masculine twin brother of Dale, the super campy Chris, various politicians and several others show him that as an actor he is force coming into his own creative power. Wonderful dancer as well, (ballet background?), Wood is a fabulous counterpoint to what could descend into a chaotic mess (although the frantic nature is part of the charm of this play), and the controlled hand of the director eases the characters competently into the next scene.
Having worked with Wood in Storked, Teo Vergara brings their fierce personality to this multifunctional role. Transversing through butch lesbian, many people from around the world and their rumination monologue at the end, they are always delightful to see perform.
Rounding out this hectic quartet is Seon Williams (White Fever). The audience erupted into laughter with every depiction of a bushy eyed PM Howard, a nasal lawyer and (one of many) love interest David to Dale. As a cast they are out and out fabulous, and the dynamic foursome nail their performances with vigour.
Breaking the fourth wall and even their designated roles to wonder what the play is about, gives this meta play a sly wink at the ludicrous events, that although true, seem almost too bizarre for belief.
This belief ties into the themes, namely the protection of Queer rights and what needs to be done to be accepted by society.
As Williams laments at the closing monologue, did Anderson’s Emperor trip do anything to help Queer rights? Wouldn’t it be better if we all just got along, everyone respecting each other and remove the ‘othering’ that wounds the nation’s psych?
Thoughtful and thought provoking, with plenty of pink glitter and clever one-liners, this show is very funny, and a well-deserved winner at the Queer Playwrighting Awards.
The quirky and brilliant set, creative use of AV and simple costumes all aid in pushing the story forward.
So, don’t be shy! Come along and enjoy this amazing play, it’s a definite MUST SEE!
For more on the history of this, click on the link for Tom Ballard’s overview. Not necessary to view the play but wonderful to deepen one’s knowledge.
tom-ballard_coral-sea-overview.pdf
A Comprehensive & Profoundly Queer Accounting of the Brief (Yet Glorious!) History of the Gay & Lesbian Kingdom of the Coral Sea Islands (The Queer Kingdom) is playing at 7:00 pm at Gasworks until 31st January 2026.
