2021 | Suzy Goes See

Venue: Sydney Town Hall (Sydney NSW), Jan 8 – 17, 2021
Playwright: Andrea James
Director: Andrea James
Cast: Luke Carroll, Jax Compton, Tuuli Narkle, Katina Olsen, Kyle Shilling
Images by Yaya Stempler

Theatre review
Living legend Evonne Goolagong ruled tennis through the 1970s, a remarkable feat by anyone’s standards, but her successes as a young Aboriginal woman can never be underemphasised. Systemic forces put in place through all these years of colonisation, means that any instances of excellence by the Indigenous population of our land, represents a defiant tenacity, whether or not the individual chooses to identify along political lines. In Andrea James’ Sunshine Super Girl, our heroine thinks of herself as apolitical, however there is no mistaking her achievements as anything but an immense source of pride and inspiration for Australians of all stripes.

Written and directed by James, the work is a captivating study of not just the sporting icon, but also the environment in which all Indigenous women have to endure. Sunshine Super Girl‘s discussions of gender and race, although handled with a lightness of touch, does not shy away from the hard realities that women of colour deal with every day and everywhere. The actual narrative of Goolagong’s glory years is uncomplicated and rarely overtly dramatic, but James’ meticulous direction, along with marvelous choreography by Katina Olsen and Vicki Van Hout, work in collaboration to deliver a rich and soulful creation, that many will find genuinely moving.

There is a tender sincerity to the production that makes its 90-minute duration a terrific experience. Music and sound by Gail Priest are intricate and sensitive, while lights by Karen Norris and projections by Mic Gruchy help us reach emotional depths beyond that which dialogue can provide. Set and costumes by Romanie Harper and Melanie Liertz convey contextual information with great efficiency, able to manufacture a sophisticated aesthetic that is elegant, authentic and very pleasing to the eye.

Leading lady Tuuli Narkle is a charismatic and truthful presence, who impresses with the thoroughness of her reflections, and the precision with which she executes her creative ideas. As a young Goolagong, Narkle is confident, nuanced and simply brilliant. The supporting cast comprises Luke Carroll, Jax Compton, Katina Olsen, Kyle Shilling, a formidable team beautifully cohesive at every turn, yet each performer is able to demonstrate distinct strengths that appeal to the audience in varied ways.

The importance of success stories and role models for minority communities, are often overlooked. Without sufficient examples of accomplishments by people like us, it is easy to think that everything is out of reach. On the other hand, these extraordinary personalities draw attention to the irregularity of people like us making it big. We must place attention on structural mechanisms that are hindrances for particular groups. This often means that dominant cultures have to consciously cede power, before parity can ever have a chance to be attained. Not many of us can be Evonne Goolagong, and we should not have to be exceptional in order to walk this earth with joy and dignity.

www.performinglines.org.au

Sunshine Super Girl (2021, Performing Lines)

Venue: Carriageworks (Eveleigh NSW), Jan 6 – 10, 2021
Director: Danielle Micich
Cast: Paul Capsis, Olwen Fouéré, Pamela Rabe, Isabel Bantog, Owen Beckman-Scott, Luka Brett-Hall, Maddie Brett-Hall, Imala Cush, Niamh Cush, Nicholas Edwards, Ember Henninger, Piper Kemp, Poppy McKinnon, Julia Piazza, Tallulah Pickard, Louis Ting
Images by Brett Boardman

Theatre review
Thirteen young creatures are hatched at the beginning of The Last Season, and we follow them through their first year, witnessing transformations alongside as they progress through the months commencing in Summer. The first three sections of the 4-part show feature a central character, a mature personality juxtaposing against these tender entities. Presented in a non-narrative format, it suggests ideas of legacy and progeniture, placing focus on past/future and parent/child, to ask fundamental questions about our very existence.

Directed by Danielle Micich, The Last Season is an ambitious work. Marg Howell’s set and costumes, Damien Cooper’s lights, and Kelly Ryall’s music, all conspire to create something that indicates an unmissable sense of the epic; the themes under investigation certainly are of that grandiose scale. Transcendental in its tone and feel, the production however never really moves us to the sublime. Its abstraction places us in a cerebral state, yet what it wishes to say, seems to remain in the pedestrian.

Although insufficiently inventive, The Last Season‘s experimental nature is to be lauded. The youthful ensemble is full of intensity and concentration, with every member displaying admirable generosity in their commitment to the art form. Senior performers bring colourful variation, each one distinct and memorable. Paul Capsis is especially powerful, with the poignant humour and sincerity that they are able to introduce to the piece. Olwen Fouéré’s extraordinary style and energy provide a remarkable sense of elevation, and Pamela Rabe’s august theatricality establishes a necessary gravity that keeps us attentive.

With each generation, we wonder if it is just history repeating, or if a new frontier is being forged. Life is a mystery, but we know for sure that there will always be individuals who refuse to toe the line, and new innovators who will create something never before seen. Conformity is death, so it is fortunate that living amongst us, are those who will ensure that our extinction is kept at bay, for a little while longer.

www.forcemajeure.com.au