Australia Felix Reviews

https://www.the4thwallreviews.com/post/australia-felic-review-by-rhonda-hancock

Australia Felix – Review by Rhonda Hancock

In a niche on the Bridge Street facade of the Department of Lands Building in Sydney, there is a sculpture of Surveyor-General Major Thomas Mitchell. This is one of the many memorial statues and plaques in his honour scattered across Australia. A celebrated explorer, Mitchell has a town, a suburb, a highway, an electorate, and even a cockatoo named after him. One of his most well-known expeditions was in 1836, when he travelled through the western regions of Victoria, and was so impressed by the rich grasslands that he named it ‘Australia Felix’ (Latin for “fortunate southern land”).When I went to school, we were taught that early Australian explorers such as Major Mitchell had a positive influence on the development and advancement of the colony, opening up new “undiscovered” lands and paving the way for expansion and pastoral settlement – with much of the historical material presented focussing on the achievements of white settlers or “convicts made good”. The convict or Aboriginal perspectives were never acknowledged, Today, of course, I am far more enlightened and have a much wider understanding of our early history the impacts of colonisationThe notion that there is often a dark and untold truth behind many of our well-known historical narratives is what attracted me to the play, Australia Felix.  Written and directed by Geoffrey Sykes (and based on a true story), the play examines Australian colonial history by exploring the perspectives of a runaway convict, a leading explorer, landowners and magistrates of the time, and the knowledge of the Aboriginal people. I had done my research before attending the show, and was looking forward to immersing myself in a fresh imagining of this particular chapter in Australian history. The play definitely did not disappoint.

The Richard Wherrett Studio (at Roslyn Packer Theatre) was a well-chosen venue for this production.  A converted bond store, the studio features the original brickwork, high ceilings, iron bark beams and remnants of the original industrial equipment. When entering the space, I found the atmosphere was somewhat eerie and very reminiscent of a nineteenth century gaol – this was enhanced by strategically placed lighting on specific features of the building. This obviously achieved the intended ambiance, given that the play is set on the eve of the execution of the runaway convict, George Clarke.A small, t-shaped thrust stage, furnished simply, represented the intimate performance space of a travelling show – this vision was completed with a backdrop created in the likeness of a sideshow banner, emblazoned with slogans and historic images related to the show.  Visual designers Aschara Pothmann and Jonathon King did a great job ensuring that the set, props, costumes and program design all enhanced and supported the overall vision of the production.

The play followed the format of a musical revue, performed by a travelling theatre troupe in the 1830s. At the time, hangings were publicly advertised and often drew a good crowd, and (as was common tradition) entertainment was provided by itinerant performers who would of dramatise the life of the convicted through song and verse.As the play opened, we met the members of “Macnamara’s All-Australian Theatre” – John Macnamara (played by Rick Butler), Ned (played by Mark Alexander), Merry May (played by Kate Stewart), Sarah (played by Tisha Kelemen) and Ruth (played by Freya Moore). The players then began to recount the story of “The Life, Tales, Trials, Sentencing and Execution of Clarke the Flying Barber”. As the narrative unfolded, the players deftly took on the roles of the characters in the story – London magistrate, George Clarke, Elizabeth Harris, Benjamin Singleton, trooper, Mrs Smith, Mrs Cheatem, Justice Clarke, Major Campbell, Thomas Mitchell, Mr Justice Stephens, Attorney General NSW, Colonial Secretary NSW, Mr Justice Montagu, John Lee, and Rev William Bedford. Each new character was signified by a slight costume change – the addition (or removal) of a jacket, shawl or cloak – and use of props which were placed strategically around the performance space.  This was done quickly and efficiently, keeping the fast pace of the show.  It is an absolute credit to the five actors who were able to portray multiple personalities– switching in and out of roles while still creating and maintaining each distinct character’s traits.

Despite the gloomy (and often disheartening) story line, the musical revue format was very entertaining, under the musical direction of Kate Stewart. Woven into the narrative were songs written by Steve Wood – these catchy ballads were both sobering and uplifting, and told the story beautifully. The strength of the cast was not only in their acting prowess, but also their ability to sing and produce euphonious harmonies, sometimes accompanying themselves on a guitar, in true travelling minstrel style. I was particularly impressed with the use of furniture and prop pieces as percussion devices, as an accompaniment to the rhythmic chants and ballads, and also to create powerful sound effects. This thought- provoking play certainly gave a fresh perspective on colonial history, and how it has shaped Australian identity and values.  The story of the association between Clarke the convict and Mitchell the explorer is one worth telling, and Sykes does it so well. It was both entertaining and intriguing, and certainly questioned the notion of Australia being a “fortunate” land.

I give this production 4.5 out of 5 runaway convicts

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https://southsydneyherald.com.au/australia-felix/

Australia Felix

By

Catherine Skipper

March 27, 2024

Australia Felix
Writer: Geoffrey Sykes
Director: Geoffrey Sykes
Richard Wherrett Studio
April 5 & 6 (2.30 & 7.30pm)

Australia Felix is an entertaining and thoughtful play. Writer Geoffrey Sykes has chosen the ideal story through which to probe our chequered history and the uncertainty of our future, the cast is very appealing in their various roles and have good voices, and Steve Wood’s songs are both catchy and purposeful.

The narrative is based on the remarkable life of runaway convict, George Clarke aka “The Flying Barber”, arrested for household theft in 1824. Clarke received a death sentence which was commuted to transportation for life. Eventually, after some credible and incredible adventures, 29-year-old Clarke was hanged in 1835 in Hobart and Australia Felix begins as if on the eve of his execution. The story is presented  by “John MacNamara’s  All-Australian Theatre”, a travelling theatre company, on an appropriately simple stage.

We are introduced initially to the five troubadours who play all the characters with whom George engaged in his eventful existence, and whose adventures are narrated in an episodic, stylised way. The whole is held together by Rick Butlin’s excellent performance as MacNamara, and whose guitar acts as punctuation to each scene. He engages the audience through eye contact and almost draws them into the narrative physically by his movements towards them and then retreats to the middle stage. 

This same device is used by Kate Stewart as Elizabeth Harris, brought into the narrative to show that some free settlers were happy to farm small and to share their produce with Aboriginal peoples. Dressed in a warm rusty brown she moves down stage into audience space, giving the impression of generosity and trustfulness in a possible future where all tensions could be resolved.

In a direct contrast to Elizabeth’s philosophy, Clarke’s first master Benjamin Singleton (Freya Moore) is tight and controlled. He will forgive Clarke for absconding, living with Aboriginal tribes and cattle rustling while at liberty if Clarke will accompany him on an expedition inland. His “generosity” is motivated by greed for more land, illustrating the settlement’s push for more territory.

George Clarke’s knowledge of the interior is the crux of the story. Clarke as played by Mark Alexander is an ambiguous fellow, at once subservient and resistant, at once rough and reckless but also a visionary. Almost a slave, he would doff his cap to authorities if he had one but is ready to argue with the worldly Major Campbell (Tisha Kelemen) and Sir Thomas Mitchell (Butlin), and his depiction of the mighty Kindur River running northwest into the inland to the coast in the far north is both ruse and an imaginative wonder.

When charged with cattle rustling Clarke haltingly (and logically) offers the defence that he was helping the tribes survive as pastoralists were progressively depriving them of their land. Alexander portrays well Clarke’s troubled state of mind when told the colonists feared him as an inciter of a black rebellion against white settlers.

As various figures of great authority Tisha Kelemen is impressively vindictive or superior, whether wearing a much becurled wig or a grey frog coat, and her voice is a great asset in the choral items. The songs, it must be said, are a high point of the production, ranging from rousing numbers to the heart-breaking “Do You Remember”. Appealing also are the clever reminders of well-known ballads such as “Botany Bay” and “The Wild Colonial Boy” nicely worked into the melodies.

In the 19th century fear dictated that injustice and death were meted out to the underprivileged in the disguise of the law. How different are we today when an honest appeal by the most underprivileged for a place in the lawmaking process is crushed by the same fear.

https://cityhub.com.au/australia-felix-review/ 

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Australia Felix – REVIEW

ARTS & ENTERTAINMENT STAGE STAGE WHAT’S ON

Jasmine Simmons

MARCH 27, 2024

Australia Felix by Geoffrey Sykes follows the journey and life of convict George Clarke, also known as the Flying Barber. The small and intimate show at the Roslyn Packer Theatre makes Australian history come to life, covering crucial elements of the country’s significant past and present. 

The endeavours of George Clarke are brought to us by the fictional MacNamara’s All-Australian Theatre, a travelling theatre company of the 1830s. Five storytellers light up the stage to guide the audience through a series of events and dramatise the convict’s life from the start of his work as a convict until his execution. The narrators transform into each character and implement sound, props, and an array of catchy sing-along tunes, bringing realism to the tales.                      

John MacNamara, portrayed by the highly engaging Rick Butler, opens the show by playing guitar, instantly gaining the audience’s attention. MacNamara’s tunes (written by Steve Wood) are heard throughout the performance, creating an immersive experience and emphasising key moments in the narrative. The storytellers and characters frequently join together in chorus, all in perfect harmony, with their voices radiating throughout the space. Mark Alexander’s expressive performance as Clarke sees him living with nine Aboriginal tribes and connecting with the land through movement. Alexander has a series of monologues throughout the show, often accompanied by a guitar motif, when his character reflects on his connection with the First Nations people.   A cappella tunes and choral ballads accompany the action on stage, creating tension at relevant moments, and highlighting the moral dilemmas in the story. Each sound sets the tone for upcoming scenes and foreshadows major events. 

In the second act, the NSW Surveyor General Thomas Mitchell, portrayed by Rick Butler, sets out on an expedition based on Clarke’s discoveries. When Mitchell cannot find what Clarke has seen, the two share their critical questions and thoughts on Australia’s colonial history. In contrast to the song-song moments in the show, the debate between Clarke and Mitchell occurs in complete silence, allowing the audience to take in all the presented information. From start to finish, Clarke defends the fertile inland and fights against the expansion of colonial settlement. Clarke’s hanging is emphasised by deep blue and red lighting and emotional statements from the supporting characters. The cast then comes together once more as storytellers to end the performance with yet another catchy tune.

The cast makes exceptional use of the Richard Wherrett Studio (which Geoffrey Sykes explicitly chose for this production) doing the story of the Flying Barber justice. The seriousness of Australia’s complicated colonial history and relationships with the land is reflected in a highly engaging performance that is easy to follow.  This “bloody good show” with a contemporary outlook on Australia’s identity and values is one to look out for and will leave you singing and humming into the night. 

Until April 6

Richard Wherrett Studio, Roslyn Packer Theatre, Hickson Rd, Walsh Bay

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Sydney Arts Guide

AUSTRALIA FELIX : THE TALES, TRIALS, SENTENCING OF THE ‘FLYING BARBER’

AUSTRALIA FELIX : THE TALES, TRIALS, SENTENCING OF THE ‘FLYING BARBER’

This is an absorbing, insightful and intriguing play.

While recounting an early colonial history in the Australian Felix, Geoffrey Sykes merges with the more contemporary outlook into an ever-present philosophical enquiry into an Australian identity, its values, and ethics.

He has forged ahead with an honest and imperious view that reflects on the penitentiary system, Australian contact history, and the ravages of white settlement.

The emotional complexities and moral dilemmas are part of it all.

This unique play reopens some critical questions about who can tell and how do we understand our shared history.

Sykes play fills in the blanks of inherited stories about Australian past and convict
gestured to a wider story with some ever-challenging identity and moral questions on being an Australian.

This is a work of great importance, beautifully written and impossible to ignore.

AUSTRALIA FELIX had a brief season at the Chippen Street Theatre with three performances; Friday 8th December at 7.30pm and Saturday 9th December, 2023 at 2pm and 7.30pm.

Review by Jolanta Hildebrandt-Mazurek

ARTICLE Geoffrey Sykes

ARTICLE Rick Butler

ARTICLE ABC Radio Illawarra