Due to the nature of the review and the contents of the play, a second review was undertaken on Saturday 11th, and can be read here: Australia Day Spoiler Free Review #2 - Saturday Matinee
Australia Day - 4 out of 10
Therry Theatre
TICKETS: Australia Day Tickets
This review was undertaken at a Preview Performance.
Jonathan Biggins’ Australia Day is a controversial satirical comedy about the organising committee responsible for coordinating the fictional country town of Makarrata’s festivities for Australia Day. Act 1 covers four committee meetings in the lead up to Australia Day, involving the organisation of choirs, dance groups, and school bands. The members argue over their assigned visiting dignitary for the citizenship ceremony and, of course, the sausage sizzle – ever-increasing tensions that are sure to explode. Act 2 deals with the aftermath and pure chaos of the festivities: rival politicians in compromising positions, Portaloo backing up while the community endures food poisoning, and the day becoming a total washout. The script suffers from a tonal identity crisis, abandoning the sharp, inherent farce of committee life to become a mouthpiece for Biggins’ personal commentary on Australian identity.
Director Jude Hines has a long history with comedy, and not just with Therry Theatre. This makes so many of her directorial choices
confusing and disappointing. The production lacked the caffeinated energy
required for farcical comedy; by meticulously avoiding overlapping dialogue, the cast
robbed the scenes of their natural friction. This lethargic pace didn't just
add 25 minutes to the runtime – it forced the audience to sit with every
controversial joke for far too long, draining the satire of its intended bite.
The play is written in a way that all of the local towns,
suburbs and political references can be updated based on who and where it is
being performed. It is intended to allow the show to feel local and relevant
with its finger on the proverbial pulse. The updated local references – which
should have anchored the play in a recognisable reality – were instead
delivered with such a self-congratulatory wink to the audience that they became
distracting 'meta-moments' rather than organic dialogue.
Stephen Bills plays the slightly corrupt Mayor of Makarrata
– the committee chair and a hopeful federal Liberal candidate. While Bills
brought great projection and presence to the role, his performance was
effectively neutralised by the stilted blocking. This directorial choice often
left him comedically marooned – unable to lean into the physical friction this show requires and the character’s inherent pomposity despite his strong start.
Adam Schulz, stepping into the role of Deputy Mayor just
three weeks before opening, must be congratulated for his performance. Schulz
provided a vital grounding influence – capturing the spirit of the over-worked
deputy who actually keeps the machinery of the town running. By acting as the
production's emotional anchor, his character’s plaintive desire for everything
to stay the same at the play's end felt genuinely earned.
Steve Kidd portrays local builder and vocal bigot, Wally
Stewart, as a real human being, not as caricature or stereotype. He is also the
only character of the play that you believe has actually learnt something from
his experience and maybe grown a little as a person. His apology to Greens
Councillor McInnes is both painful and genuine.
Kristina Kidd (Maree), Michele Kelsey (Helen McInnes), and
Ollie Xu (Chester Lee) all portray caricatures rather than lived-in characters.
By leaning into stereotypes, their staged reactions lacked an organic quality – often feeling planned rather than spontaneous.
Ultimately, they were done a disservice by the script; Biggins’ desire to use
these characters as vessels for his own politically incorrect jokes relegated
them to being mouthpieces rather than three-dimensional people.
A few preview technical gremlins – such as a
persistent white noise buzz during the first half of Act 1 – aside, the sound
design was effectively atmospheric, helping to paint the picture of a sleepy
country town. The lighting design remained solid and even throughout the
performance – a safety that unfortunately failed to do justice to the
incredible scenic art in Act 2. The rural landscape, featuring a beautifully
rendered ghostly gum, was a visual highlight that unfortunately remained
under-lit and obscured.
Biggins’ Australia Day is a problematic play with a script
that requires a deft, modern touch to remain relevant. Had it been handled with
a sharper, more subversive edge, this could have been a genuine satirical comedy – a biting look at the power dynamics of council politics and the microcosm of
rural Australia. As it stands, the production feels somewhat toothless; while
your racist uncle will likely laugh throughout the show, he won’t leave having
been challenged to confront why he found those jokes so easy to swallow.
- Scott
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