Melbourne Theatre Company’s My Brilliant Career is a musical re-imagining of Miles Franklin’s classic 1901 novel of the same name. It follows a young woman, Sybylla Melvyn, as she chafes against her rural constraints to seek creative freedom.
A headstrong young woman, Sybylla dreams of becoming a writer despite her family’s poverty and society’s expectations of marriage. She ultimately rejects a marriage proposal from wealthy squatter Harold Beecham, choosing her independence and artistic aspirations over conventional romance and security. But this decision comes at a personal cost.
With libretto by Sheridan Harbridge and Dean Bryant, music by Mathew Frank, lyrics by Bryant and musical direction and arrangements by Victoria Falconer, this new, contemporary take on the book was developed over five years (initially supported by the NEXT STAGE writers’ program).
Born from a shared experience of the writers’ rural upbringings, the production is an example of what can happen when shows and artists are afforded the time to develop works organically and with care.
A fine ensemble
In the Sumner Theatre, the music begins before the show starts.
Initially, a small trio plays on stage while the audience enters. Over time, other musicians drift on, joining in on violin, keys, drums, cello and more. These actor-musicians, all dressed in period costume with long skirts and cinched-in waists, are multi-instrumentalists who also play the show’s characters.
At first I’m a little discombobulated by the playful and intense energy: I have a thorough crush on Franklin’s original novel, and no less affection for the 1979 film starring Judy Davis. Once I let go of my attachments, however, I’m able to settle into – and thoroughly enjoy – this delightful musical.
The fine ensemble is competent, physical and highly skilled, with a wonderfully spirited complicité. The clarity of character and relationship between the cast members is testament to Anne-Louise Sarks’ expert direction.
Versatility and panache
Kala Gare plays the role of Sybylla Melvyn – who just wants art and music and books – with a precocious, teenage ebullience.
Gare is a versatile actor and indie musician and her effervescent performance is undercut with a good dose of raucous feminist sass. She totally grows on me, comically framing her joyful portrayal of Sybylla with wry asides to the audience: (“I am being overwhelmed by my hot untamed spirit!”).
Gare readily shifts through performance styles – from poignant piano ballads, to thrashing hard rock, to cheeky all-singing, all-dancing numbers, with panache.
Her singer/songwriter vocal delivery is quite different to some of the other ensemble members, who happily dwell in the “belter” musical theatre category. Nonetheless, the voices are integrated well.
Other standouts include Raj Labade as the smooth-voiced, charismatic Harry/Harold, and the delightful Cameron Bajraktarevic-Hayward as Frank, who brings the house down with a brilliantly over-the-top number You’re Better Than a Beauty, Baby: You’re a Brick.
Precise and choreographed physicality
Amy Campbell’s choreography makes the most of the ensemble’s physicality. Rather than being confined to the orchestra pit or relegated backstage, the performers inhabit the space with embodied and grounded presence. They move fluidly through and around the stage with precise, choreographed synchronicity.
I love to see performers who are confident in movement. In this instance the choreography shines, with many fine moments of comic physical timing and still tableaux with bodies and props.
Marg Horwell’s set is full of lushly delivered surprises. It features sparkling chandeliers, brightly coloured ribboned backdrops and spectacular flower cascades.
The costumes are similarly plush, with high Victorian-era necklines, extreme ruffles, outlandish winged cravats and fitted bodices rendered larger than life by the use of oversized shoulder pads.
The magic of the theatre is hilariously disrupted as straight-faced stage managers wittingly walk onto the stage to help dress actors, or supplying new props, in the midst of the action.
Smart, funny and thoroughly entertaining
Some of the show’s musical numbers are more successful than others. The “Australian larrikin” vibe is occasionally a bit overcooked, or undermined by unnecessarily saccharine phrases. The second act also doesn’t quite maintain the exuberant energy of the first.
That said, the overall production guarantees audiences a smart, funny and thoroughly entertaining experience that doesn’t lessen the impact of Franklin’s story.
My Brilliant Career is a refreshing reinvention of a timeless classic. The production’s success lies in its ability to honour the source material while infusing it with contemporary energy and wit.
It’s a wonderful reminder of what can be achieved when creative labour is properly resourced and carefully considered.
Kate Hunter does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
This article was originally published on The Conversation. Read the original article.
