By Nick Pilgrim
From Sister Act’s Delores Van Cartier, Henry the VIII’s headstrong (or beheaded) wives in SIX, to Elphaba and Galinda in Wicked, Australia’s musical theatre scene is currently flush with fiery female empowerment.
The latest entry to the fold arrives in the shape of Sybylla Melvyn. Based on the beloved Australian novel by Miles Franklin, My Brilliant Career details the journey of a young teenager thrust headlong into society’s restrictive cauldron of rules, regulations and conventions.
Except, what is offered to and expected from an impressionable girl on the verge of womanhood, she ultimately refuses to follow her own dreams and aspirations instead. Her journey is not without hardship; she must face a series of family secrets, cruel debts and romantic obstacles on the pathway to personal ambition. (Furthermore, the mere mention of becoming a musician or a writer to her relatives is met by cold fascination, horror and derision.)
In a country nearing Federation, this very act of female rebellion had serious consequences. Capturing the book’s raw essence yet reimagined for modern audiences, Sybylla is a tour de force determined to win both our hearts and minds. But always, on her terms.
Very much like writers in the domain of Jo March (from Little Women) or Anne Shirley (from Anne of Green Gables), the protagonist is someone who knows herself from the get-go. A big thinker stuck on a failing cattle ranch, Sybylla wants more from life than it has to offer. How (and if) she achieves this, becomes the springboard from which the gripping and thought-provoking narrative is launched.
(That being said, My Brilliant Career was penned in 1901 under a pseudonym. Which at the time, seems incredulous now that using a man’s name was likely the only way Franklin’s work would be published and accepted by the public.)
Forty-five years ago, Franklin’s book was filmed by Gillian Armstrong. An instant classic which made overnight stars of Judy Davis and Sam Neill, the motion picture won a multitude of awards wowing audiences and critics alike around the globe.
It only seemed a matter of time before a major stage adaptation came calling.
From the daring young minds of Sheridan Harbridge (book), Dean Bryant (book and lyrics), and Mathew Frank (music), their new musical version engages Australia’s finest creatives.
Working as a single unit, the threesome has developed an iconic work with far-reaching audience appeal. Harbridge’s accessible book in combination with Bryant’s thoughtful words and Frank’s pumping sound, makes for a dynamic experience which will delight both the young and the young at heart.
According to the production notes, the trio’s shared motivation was to capture someone who doesn’t quite fit in, terrified but determined to hold the reins at the same time. In their expert care, fans of both the book and the film will be thrilled with the outcome. Like Sybylla’s own journey, this is not a safe interpretation. They are prepared to take risks.
Following on from a fully staged workshop I saw five years ago at Monash University, I was curious to see if that presentation had been revised and revisited since then. (That initial iteration was funded by the Jeanne Pratt Artist in Residency program, with further development from the City of Stonnington and MTC’s Next Stage Writer’s program.)
Since then, two notable elements of the original debut have been overhauled.
For the updated take, the main protagonist sometimes breaks free from the action to engage with the audience. It is a bold move. Whether addressing us directly or making witty asides and observations like Miranda Hart (from her sitcom, Miranda) or Phoebe Waller-Bridge (from Fleabag), this approach both endears and connects us to the character. Sybylla is a force to be reckoned with, and doesn’t she know it.
Set and costume design by Marg Horwell (with assistance from Savanna Wegman) is distinctly Australian, yet often fantastical. Seen from that single point of view, feels like we are stepping deep into the main character’s bright and fervent imagination. In stark contrast to her homestead’s despairing landscape, Sybylla’s rich inner world allows flowers, streamers or chandeliers to magically drop from the sky. (Think Christopher Boone’s way of seeing from The Curious Incident of the Dog in the Nighttime and you’ll get the idea.)
The term “It takes a village” is very much in evidence.
Helmed by Anne-Louise Sarks, her laser-pointed direction allows for a satisfying journey. (Assistant direction is from Miranda Middleton).
As anyone seeing something unfamiliar for the first time knows, it is imperative that no stone is left unturned. From Musical Direction (by Victoria Falconer and Drew Livingston), Lighting (by Matt Scott) to Sound (by Joy Weng), Choreography (by Amy Campbell), Orchestration (by James Simpson and Falconer) or Voice and Text Coaching (by Matt Furlani), there are very few second chances to set the scene and build atmosphere. This mindset is particularly crucial when premiering any new work on such a grand scale.
Holding together the experience with fluid precision, Stage Management duties are shared by Whitney McNamara, Tom O’Sullivan and Annie Gleisner.
My Brilliant Career takes the dusty outback where period accuracy meets steampunk glam, an approach which will thrill fans of SIX and Hamilton alike.
Building hardcore rock on a foundation of bush ballads, the actors accompany each other in a ten-piece band. Not only does this showcase their versatility as artists and musicians, but it also feels like the score is being created before our very eyes. (The only recent instance I can think of where actors doubled as instrumentalists, was in the 2006 Broadway production of Company.)
Drawing on the book’s core characters to tell the story, makes for a clear yet fast-paced tale. Performed by ten actors playing multiple roles, digestible exposition is woven into the equally humorous and moving narrative. They are:
- Cameron Bajraktarevic-Hayward (as Frank / Cello / Ensemble)
- Lincoln Elliott (Jimmy / Horace / Ensemble)
- Victoria Falconer (Ensemble)
- Raj Labade (Harry / Peter / Ensemble)
- Drew Livingston (Father / Jay-Jay / M’Swat / Ensemble)
- Hany Lee (Gertie / Blanche / Ensemble)
- Ana Mitsikas (Grannie / Rose Jane / Ensemble)
- Christina O’Neill (Mother / Helen / Mrs M’Swat / Ensemble)
- Jarrad Payne (Ensemble)
Working as a cohesive whole, the cast is made up of new and veteran performers. Either as an individual or a team, everyone is allowed their stand-out moment in the spotlight.
Fronting any show is a massive responsibility.
If the name Kala Gare is unfamiliar, (whose credits include Masterclass, Rent, Twelfth Night and SIX) it won’t be for long. Everything you want a heroine to be, she is cheeky and charming, vulnerable and deep feeling. Brim full of life, she is flawed but passionate. Gare is nothing less than brilliant. She is Sybylla Melvyn.
Owning the space, Gare draws you into the story full force.
Whether she is climbing over furniture or belting a set list of brand-new hits high into the rafters, I have rarely experienced a rising star of this magnitude. (Played by the equally talented Max McKenna, I was sometimes reminded of two other local dreamers like Muriel Heslop from Muriel’s Wedding and Ruby Semblance from Bananaland.)
My Brilliant Career will engage and inspire anyone who crosses its delightful path. Playing for a strictly limited season until December 18, this is the absolute must-see of the year.
Image: Pia Johnson
