Review by Nick Pilgrim
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It was only a matter of time.
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In recent years, public interest in Stella Maria Sarah Miles Franklin (1879 – 1954) and her prolific output has experienced a significant resurgence. Two investigative biographies, a children’s book and a critically acclaimed musical based on the author’s most famous novel, My Brilliant Career, continue to reinforce Miles Franklin’s valued place in Australia’s literary landscape.
Stella – A New Australian Musical is a fascinating project, in that it puts the artist front and centre. Using her vast body of work for inspiration, this prestigious world premiere venture is built around exploring the creative’s life story and professional development as well.
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While the production team responsible for Stella make a brave choice taking this approach, their pay-off is well-rewarded. In short Franklin’s personal background and artistic growth is every bit as fascinating as her writing.
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(It should be noted that past musicals and plays highlighting other important local legends include Henry Lawson, Banjo Paterson, and Kath Walker.)
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In an existence that took her from rural New South Wales, the United States, Great Britain and home again, Stella paints its protagonist with loving yet provocative detail. Like any creative determined to push beyond and expand upon their raw potential, making art is not a choice. It is an absolute lifeforce of its own.
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Stella compresses Franklin’s gripping adventure into two hour-long acts. No mean feat, the presentation selects key episodes from her life and incorporates more than two dozen original and catchy songs to help drive the narrative.
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Franklin, much like her most famous fictional counterpart, Sybilla Melvyn, was headstrong, complex and unstoppable. Her natural gift for wordplay helped furnish a rich inner world, setting up a pathway for greater things to come.
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Determined to make it on her own, with success came sacrifice and scandal. At a time when women were forced to write under male pseudonyms, Franklin’s mission to break down prejudicial barriers aligned with significant feminist milestones of the time.
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Highlighting the writer’s struggles and triumphs in equal measure, this is a show determined to capture our interest early and take viewers everywhere.
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A rare triple threat, Monique diMattina is responsible for the book, music and lyrics. Taking that knowledge into consideration, the show’s throughline has a stylistic consistency across all three mediums. With Stella, her background as a jazz pianist, singer and composer is put to excellent use. Seeming to draw on the likes of Stephen Sondheim, Maury Yeston, Stephen Flaherty and Lynn Ahrens for inspiration, diMattina’s tunes help move the story forward with solid exposition, immersive character enhancement and sensitive period detail.
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Almost meta in its execution, her collaboration with some of Australia’s best available creative talent, provides a solid foundation to the overall story they are telling.
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This expert team includes Julia Robertson (Director), Indigo Hung (Assistant Director), Vicky Jacobs (Musical Director), Johnny Gardner (Assistant Musical Director), Isla Shaw (Costume Designer), Nick Fry (Set Designer), Sidney Younger (Lighting Designer), David Letch (Sound Designer), Shula Keyte (Hair & Make-Up Designer) and Isobel Long (Stage Manager).
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Together, this group constructs a historic journey which is both accessible and entertaining. The tiered, multi-purpose rustic set is a static platform shared by performers and musicians alike. Secured pieces and shifting props help to define and delineate each episode as one element merges into the next. An intelligent use of sound and lighting frame the space, shifting focus between epic and more intimate scenes as well.
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Perhaps the show’s biggest selling point, is how the veteran cast of five make what is essentially an introspective chamber piece bloom on a much grander scale. (Yours truly was gob-smacked to learn that the quintet plays forty-five characters in total.)
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Together, they sink their teeth into the rich source material with aplomb. Filling the Alexander Theatre’s vast stage, their versatility and range as actors is on full show.
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Shubshri Kandiah (Aladdin, Beauty & The Beast, Cinderella), Johanna Allen (Charlie & The Chocolate Factory, and A Gentleman’s Guide to Love & Murder, The Sound of Music, Sweeney Todd), Joe Kosky (Come From Away, The Play That Goes Wrong, Shrek) and Kaya Byrne (A Christmas Carol, Chess, Groundhog Day) perform multiple roles dotted along Stella’s linear telling.
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Kandiah (as Franklin’s doting sister Linda or the social reformer, Vida Goldstein) brings a youthful warmth for which she is known. Kosky (as Franklin’s father and others) demonstrates loveable strength. Byrne (as Franklin’s brother, Norman or romantic interest, Edwin) is equal parts cheeky or charming, and Allen (as Franklin’s stern yet quietly proud mother or florid rival Mary Gilmore) communicates everything from gentle pathos to broad humour in both parts.
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Playing the title role, Geraldine Hakewill (Miss Fisher’s Modern Murder Mysteries, Gaslight, Macbeth) is the glue central to this experience.
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Her outspoken yet vibrant heroine is like Jo March, Anne Shirley, and Laura Ingalls Wilder melted into one. Witnessing this evolution from a naïve dreamer to an empowered civil rights activist and more, is a process I am sure would make Franklin herself very proud indeed.
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Hakewill owns Stella from the very first step, alongside a company working in tandem with chemistry, clarity and purpose.
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Playing for a strictly limited season until Saturday June 20, this is your best chance to watch and support brand new Australian musical theatre up close and in person.
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Don’t miss out!
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Stella is now playing at the Alexander Theatre at Monash University for a strictly limited season until June 20th.
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For more information and tickets: https://stellathemusical.com/
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Photo credit: Ben Fon
