By Ash Cottrell
Malthouse Theatre are undeniably knocking it out of the park this year with their suite of provocative content. Ending the season with the festivity and exhilaration of a show like, F**k Christmas was an inspired choice and proved to be the absolute highlight of my week.
Full disclosure, I’m a massive Christmas nut. I’m the sort of person that demands yearly viewings of, Home Alone, much to the annoyance of the extended family who must endure my endless impersonations of the iconic, Kevin McCallister. I suppose you could safely say that I’m not really in the target market for a show that hates-on Christmas. With that said, despite the inherent critique evident in the writing, (taking issue primarily with the mass consumerism and exclusivity of Christmas), there wasn’t much hate here – in fact, this group of performers delivered nothing but pure joy.
F**k Christmas was essentially a variety show of sorts, performed by an ensemble of diverse, talented artists. The storytelling encapsulated comedy, musical theatre, contortion, dance, live music, circus performance and nudity. For the most part, it was satirical, subversive and hilarious, with a wonderful bit of shock value to boot. It would be misrepresenting the narrative to say that it was all laughs, there were moments of pathos, too of an appropriately somber and reflective nature, begging the question, what is Christmas really all about and at what cost does it come to both the individual and the environment?
The creative team were vast and dynamic, led in this instance by, Sarah Ward, Bec Matthews and Susie Dee who developed the original concept for the show, borne out of conflicting emotional responses to a holiday like, Christmas. Thematic considerations included problematic mass consumerism, the ludicrousness of Christmas variety shows such as, Carols by Candlelight, the effects of global warming on the North Pole and the inherent privilege of an ageing white male being the face of the holiday. These zeitgeist themes and many more were incorporated with great humour, body positivity, celebration and provocative storytelling through song, dance and the addictive spice of satire.
Extraordinary vision was evident in the design work of, Romanie Harper. The set and costume design were flawless and encapsulated a rich and traditional colour palette that evoked memories and nostalgia but also turned everything on its head. I was unsurprised to later learn that sustainability was a large part of the design approach, with the reappropriation of many elements from trees to costumes that were brought together with creativity and bold showmanship. Others credited for costume construction and scenic work should also be acknowledged, Nathan Burmeister, Jo Foley, Jodi Hope and Zoë Rouse. Further, a slew of industry placements and attachments were also credited as additional creatives indicating the inclusivity of behind-the-scenes and the commitment to mentorship and learning in creating this piece of theatre.
On opening night, Sarah Ward (Co-creator and lead performer), was replaced due to illness by, Milo Hartill who proved magnificent in the title role. There was a sense, due to the last-minute change at the helm that the leadup had been unrelenting but with a ‘show must go on’ mentality, the company did nothing but deliver. It was a distinct privilege to be present on the opening night of such a joyful production and despite my undying love for a holiday that evokes nostalgia and wonder, F**k Christmas encouraged me to look inwards and reflect on some of the more problematic aspects of this beloved holiday. What remained was a newfound sobriety and awareness, without losing that unbridled enthusiasm for the absurdity of the silly season.
Image: Gregory Lorenzutti
