Venue: New Theatre (Newtown NSW), Dec 18 – 22, 2018
Book: Anna Lyon, Marc McIntyre
Music & Lyrics: Adam Lyon
Director: Miranda Middleton
Cast: Erin Bogart, Denzel Bruhn, Rowan Brunt, Siobhan Clifford, Sinead Cristaudo, Lincoln Elliott, Martin Everett, Jacqui Greenfield, Jodie Harris, Rob Hartley, David Hov, Josh McElroy, Courtney Powell, Marcus Rivera, Georgia Rodgers , Carmel Rodrigues, Cypriana Singh, Guy Webster
Images by Shakira Wilson
For many Australians of European descent, the legend of Ned Kelly is a crucial element in the way identity is imagined. An outlaw with a heart of gold, the anti-authoritarian myth has helped create a notion of selfhood, that persists even in these days of bourgeois ubiquity. In the new musical Ned, old stories are resurrected once again, to reinforce ideals that are at once romantic and subversive, reflecting perhaps a longing for more innocent times, or simply to offer a reminder of the kind of people Australians have, for a long time, prided ourselves to be.
The work is in many ways derivative and predictable, with form and content both proving to be risk averse, for this Broadway-style biographical drama. There might be little that feels inventive, but its ambition is certainly laudable. Peter Rubie’s lighting design provides a sense of grandeur and polish, for captivating imagery that help elevate the simple tale. Conductor Hamish Stening puts passion into the music, keeping proceedings lively and entertaining.
Leading man Joshua McElroy is suitably moody as Ned Kelly, with an imposing physical presence that comfortably seizes the limelight. Jodie Harris is excellent as the hero’s mother Ellen, strong in voice and in personality, for a powerful characterisation of the early migrant woman. The cast is generally well-rehearsed, although choreography has a tendency to be unflattering and therefore distracting.
Ned Kelly keeps returning to our consciousness, because we have a fondness for thinking that he is a good representation of who we are. It is more likely however, that Kelly stands for values we wish to possess, but that we can no longer lay claim to. Over a century has past, and we are a world away from the rough and tumble of Van Diemen’s Land. In today’s highly materialistic existences, rebels are quashed, not by ideological compromises, but by the imperious might of money.