#MeToo anthology is out now from Picador. In the opening essay I revisit the 70s, make peace (mostly) with a 90s Helen Garner, ponder if I have any Louis C.K.s in my life and talk about the work labour movement women are doing to address sexual harassment at work. At all bookselling places …
As the 1970s began, homosexuality was illegal, and women couldn’t drink in many public bars, secure home loans or easily divorce. There were no refuges. In her new book, Michelle Arrow makes the powerful argument that it was only when ordinary, private voices were heard publicly that the social ground shifted.
You can read my review of Arrow’s fascinating book The Seventies: The personal, the political and the making of modern Australia, online here at The Monthly.
When I spoke to school climate strike leader Jean Hinchliffe for The Saturday Paper she told me a story about how she came to organise the first strike in November 2018:
“I went down to my mum and said, ‘I think I might be organising a giant school strike on November 30.’ She said, ‘Oh my god, Jean. Why are you doing this? Aren’t there any adults that can help you?’
“I said: ‘No, that defies the point of the movement.’ ”
Read the full profile here.
This review was first published on Daily Review on 19 May 2018
Performer Ash Flanders kicks off Blackie Blackie Brown in a hilariously high camp mode with his portrayal of a pink jacketed, chino short-wearing theatre luvvie home from a show, waxing sentimentally on the phone to his friend about Indigenous theatre that is “powerful, so powerful” (all those “orange lights”!). As the lights in his own apartment fail and a hole in the floor opens up and swallows him, writer Nakkiah Lui (Black is the New White, Black Comedy) signals she will be very funny – deadly, brutally funny – but also that she won’t serve up some sort of comfortably utopian dreamtime story from the past as we settle back into our padded seats.
We’re soon taken to an outback scene, where archaeologist Dr Jacqueline Black (Megan Wilding) is now assessing the hole in the ground, inspecting the site for items of cultural significance before a mining company has its way. Flanders rolls back on set again on a Segway, this time as a posh colonial taskmaster who tells “Blackie” (it’s really just a term of affection, like “Warnie”) to get a move on. It’s a whitewash. But Jacqueline soon hits on a skull and ancient powers are stirred.
The ghost of Jacqueline’s great-great-grandmother (Elaine Crombie, appearing in a video projection) arrives to tell Jacqueline how her family was massacred by four white men (only her youngest child escapes, floating down the river like Moses). In a play that is about the fall out of mass killings and the appropriation of a country from Indigenous Australians, Lui does more than her own fair share of brilliant cultural appropriation to some clever (and hilarious) ends. Jacqueline’s great-great grandmother, like the ghost of Hamlet’s father, urges her own descendent to take vengeance on the four men’s 400 descendants, giving her 28 days to complete the task. The unassuming doctor, initially horrified, warms to the task as she holds her foremother’s skull aloft. Enter vigilante Blackie Blackie Brown (BBB): she’s mad and she’s bad.
From here the play turns into a bloody romp that gleefully steals from the cartoon and the camp as well as the classical. Designers Oh Yeah Wow and artist Emily Johnson have created a brilliant series of animations, videos and special effects that reference superhero comics, Blaxploitation movies, and the visual language of South Park(the endless acts of violence, rivers of snot and a giant, hairy inflatable penis).
Elizabeth Gadsby’s set design, a plain white sloping floor like the dance floor in Saturday Night Fever, or the grid of an ’80s video game, and a backdrop of white doors like a game show. It’s an inspired setting for the frenetic action. Trap doors and windows and dropdown parts create instant scene and mood changes. The set also turns into a giant game of Whac-a-mole, and BBB runs around to kill pop up images of sacred cows like Meryl Streep, along with Bill Shorten, and just ordinary old cows like Tony Abbott.
Wilding is terrific as BBB, an unlikely murderous superhero, all blue hair, pink satin bomber jacket and leather Aboriginal flag bustier. Flanders puts in a phenomenal performance and brilliant comic timing playing all of the victims of BBB’s murderous spree: from a Klu Klux Klan member to an oily politician spruiking a health scheme for indigenous women that turns out to be a diabolical plot, to Rebecca, a BBB fan girl who fawns and carries on about being a ‘Blasian’ (a black/Asian) ally herself.
The combination of cartoon graphic animations and characters pre-recorded on video interacting with live actors could be jarring and chaotic, but it works seamlessly. The actors’ timing is impressive, but praise must also go to Declan Greene for his steadying directing hand. Apart from a couple of developed scenes, the story whizzes along in gags and a pile-up of murders. The play’s targets also include the media, big business and religion, and it can all seem a little too scattergun at times. But the cumulative effect of all the cutting comedy is to ask some serious questions about the nature of justice, and whether it can ever be achieved politely with reconciliation statements and rhetoric, without a really radical cleansing.
When Wilding as BBB seems to step out of character at the end with a message about the magic of Indigenous people, and their role as the chosen people, it is hard to know – after the laughs that have gone before – whether to read this as the serious take-home message. But Blackie Blackie Brown’s denouement leaves us with an appropriately uneasy truce. BBB hunts down her final victim – a little boy (Kempton Maloney) home alone in his suburban castle, appearing on video like an incarnation of all the golden, innocent boys of Australian cinema (Careful He Might Hear You, Romulus, My Father and Paper Planes). Lui leaves us on edge, wondering whether justice will ever be achieved until he is eliminated too.
This review was first published on Daily Review on 18 January 2018
My mother used to tell me a story about women who would come into the emergency departments where she worked as a nurse. Complaining of agonising stomach pains, staff would have to break the news they were in labour and would soon be giving birth. The story always made me think about the extraordinary lengths women go to in order to avoid looking at the blindingly obvious thing that was happening to their lives, to their bodies.
There’s a key moment in the first act of Caryl Churchill’s Top Girls (directed by Imara Savage for the Sydney Theatre Company) that reminded me of my mother’s story. Marlene (Helen Thomson), all ’80s shoulder pads and electric blue suit, is throwing a dinner party to celebrate her promotion at a London recruitment company. The famous women from history and art she has invited to join the toast include a ninth-century woman who disguised herself as a man to become Pope. As the Frascati bottles empty, Pope Joan (Heather Mitchell) describes the pains that kept coming closer together as she rode a horse during a religious procession. When a baby slides out onto the road, Pope Joan and child are stoned to death.
The other characters listen but, in between ordering steak or Waldorf salad, they are busy bringing up their own dark tales. There is Lady Nijo (Michelle Lim Davidson) a concubine to the Japanese Emperor, Isabelle Bird (Kate Box) a Victorian traveller, and a Chaucer character Griselda (Paula Arundell) a peasant girl who became a nobleman’s wife. Then there’s Gret (Contessa Treffone), a figure from a Bruegel’s painting who led an army of women through hell to fight the devils who’d hurt them (does that ring any bells?).
Each woman is celebrated and strong in her own way, but as they describe the horrors they endured, they each justify the men and ideologies they lived under as ‘just the way things were’. Lady Nijo gushes about the fine silks she wore and says that it was fine that the Emperor had sex with her when she was 14 because he “owned her” (and that’s also why she had to give up her first child). Griselda’s husband sends her children away too, but she insists he is a good man. And fearless Isabelle internalises her own patriarchal world, insisting on her husband’s superior qualities.
It’s easier for these women not to look too deeply at the world that betrayed them. “I didn’t want to pay attention, it was easier to do nothing”, Pope Joan tells no one in particular. It’s a gripping scene of revelations, non-sequiturs and characters speaking over each other, in turn oblivious to each other and appalled at the compromises and justifications their dinner companions made. Apart from Gret, that is. She spends most of the time back to the audience, squireling food away, barely talking until the end of the scene when tells a tells a story of taking revenge on the “bastards” who murdered her son.
Thomson is terrific here as Marlene, the alpha female boss holding the party together, in turn boosting the others and impatient with their compliance. “We’ve all come a long way”, she insists. But Marlene has given up a child too, as we learn in the next scenes. She’s also blindly swallowed her own share of questionable values on her way to the top, as we discover when the play shifts to her office and she can barely contain her contempt for Jeanine (Paula Arundell again) who wants to have a job and marriage and children.
All the actors from the first act’s dream sequence return to play contemporary characters that variously contrast with or parallel their earlier character. Adventurous Isabelle returns as housewife Mrs Kidd, who comes to Marlene’s office to tell her she should give up her promotion for the sake of her husband who deserves it more. The silent waitress from the first act (Claire Lovering) returns as ambitious lying job seeker Shona. Lady Nijo returns as a career woman (but she’s also a mistress again). Pope Joan becomes Louise, another job seeker who’s given her life to a male-dominated workplace and feels “she passes for a man”. Subaltern Gret returns as Angie, the daughter Marlene relinquished to her sister and who is in remedial class at school.
In putting these women of such different times, places, abilities and ideologies alongside each other, Churchill questions any notion of a universal sisterhood or essential womanhood. And in having the same actor playing multiple characters with such different fortunes, each character shaped by her own time and place, she mocks Marlene’s celebration of the individual’s ability to rise above their circumstances to become a top girl. And what is sisterhood anyway, when Marlene’s success relies on her own working class sister to raise her odd child?
Like the Pope’s pregnancy, the women lie to each other and to themselves to make some sense of a world that doesn’t work for them. Marlene’s version of a top girl is really just Thatcherism and neoliberalism in feminism’s name. Or worse. Her sister Joyce tells her “I suppose you would have liked Hitler if he was a woman. Got a lot done, Hitlerina”.
But the unacknowledged and repressed has a tendency to return and, like Pope Joan’s baby, Angie appears unexpectedly at Marlene’s ordered office, in eerie circumstances that suggest all is not quite right with Angie (and what has she done with Joyce?). All the performances are strong, but Treffone is particularly terrific, playing Angie so guilelessly transparent it’s almost painful to watch. A stand out too is Box as Joyce, the put-upon sister whose skin has worn both thick and thin.
The smart thing about this production is that we don’t see Marlene as simply evil or unredeemable, as the Stones’ Sympathy For the Devil coming at the end of act one seems to suggest (the song also seems to be a comment on the women’s misplaced identification with the men who exploited them). Marlene has that will to power that, whether wielded by women or men, can hold us all in complicity. Angie is drawn to her aunt/mother Marlene because she’s so “special”.
Churchill wrote the play in 1982, a time when the gains of second wave feminism were settling in, but it was also during the first years of Margaret Thatcher’s prime ministership. I was still in high school when my mother took me to see the Melbourne Theatre Company’s version in 1984. I was listening to a young Madonna and performing in an all-girl school production of The Crucible. Many critics have rightly cited Churchill’s socialist politics, and particularly Top Girls, as a trenchant critique of Thatcher’s “There is no such thing as society” individualism. But as a young girl, seeing all these strong figures on stage – including a young rising star called Pamela Rabe as Pope Joan – the politics mostly washed over me. I remember thinking of it as celebration of girl power that was gathering strength and peaking in the 90s. In this year’s STC version, I see different things. Now the play reads to me like a searing radical feminist critique of the misogyny that is expressed in a fear of women, their sexuality, and the children they give birth to and that can’t be incorporated into structures of power.
I listened particularly to Lady Nijo, a thirteenth century concubine who becomes pregnant to her boss – an emperor who leads a country – describing how she was banished to the countryside. And I wondered whether her story is really different from an office affair that is currently threatening to derail the deputy Prime Minister and has seen another pregnant woman fleeing to the country. And when a woman leads an avenging female army through hell to pay back the bastards who’ve done them over, I can’t help but think of #MeToo. The ‘8os office scenes and excellent costumes expertly evoke the 90s and Princess Diana and the film 9 to 5, but Top Girls is brim full of contemporary resonance.
The play which starts with a dream sequence ends with a nightmare, as Angie wakes from her sleep and a single world: “Frightening”. Any hope of change, as ever, seems to lie with the Angies, the Grets: those who have no stake in the system, and therefore nothing left to lose.
This review was first published on Daily Review on 7 April 2018
Poor Sami. He’s lying in bed at the UNNHCR (sic) refugee camp, craving sausages and dreaming of learning the tuba. He wants to perform concerts and earn enough money to escape to Germany with his wife and mother-in-law. Miraculously the hapless Sami (Yalin Ozucelik) finds a tuba: the saucy madam in the tent next door runs the camp’s Happy Cat Café, and the house band has one (it’s that kind of camp). There are also Bill and Melinda Gates Foundation hats and T-shirts for International Water Day (but no water) as the camp’s loudspeaker informs everyone. But when Sami’s tuba-playing instruction book calls for a piano, he reaches a dead end (so to speak).
Sami spirals into suicidal despair and he secures a gun, and now the entire camp is agitating for a piece of him. A refugee girl (Vaishnavi Suryaprakash) wants his death to draw attention to girls’ education. A femme fatale (Paula Arundell) is determined Sami will die for his love for her. And at the centre of it all is Charlie Gerber (Charlie Garber) the coolly manipulative towering maypole everyone else spins around. (Although the show starts with the conceit of a play within a play, the cast’s real names, or versions of them, are mixed with invented names. And snippets of real refugee’s stories and words have, likewise, been interwoven into the fabrications.)
Gerber, the opportunist-in-chief, runs a little start-up South African charity called WACAFECKEA. It has the UNN (sic) contract to run World Toilet Day, and Gerber is looking to raise his organisation’s profile. Sami’s death will be podcast! There will be memes and memorial recipes donated by Jamie Oliver! He is Malala! He is Mandela! He is Pussy Riot (or he will be Riot Pussy, as Sami, swept up by the possibilities, hilariously mis-repeats).
Things are pretty grim when it takes the prospect of someone’s death to energise everyone. But even as they connive with Sami in his delusion of grand departure, life is beautiful, as more than one character insists (and yes, Benigni’s movie seems to be invoked here too). Sami’s death will be beautiful too: it will go viral, Gerber assures him (he’s already taking selfies and planning a press conference for the funeral): “When millions frown and nod, that’s how change happens,” Gerber insists.
Belvoir artistic director Eamon Flack and his company have adapted the script from The Suicide, by Russian playwright Nikolai Erdman. A writer and satirist ranked alongside Chekhov, Erdman only managed two comedies before he was imprisoned by Stalin. He was rehabilitated by the time The Suicide was first performed 40 years later in Sweden, but he didn’t get to see the performance (the reviews were apparently excellent). For this production, Belvoir has changed the setting and some of the characters and storylines. And rather than targeting the malevolence of the secret police and state functionaries, it takes digs at trickle-down economics, Mercedes-driving humanitarians, and the rest of us who feel we are doing something meaningful with memes and hashtags.
As in the Sydney Festival show Tribunal, there’s scarcely a more important topic for theatre to tackle right now than the world’s treatment of refugees. Tribunal was a powerfully-told story of real life refugees and their advocates (some of them playing themselves). But where that show seemed committed to asking the audience to look at refugees and like me because I am good and talented and worthy, Sami in Paradise ask us to see refugees as human like me: as oddball and romantic and venal and vain and stupid and passionate as the rest of us (and with perhaps more reason to explore all the extreme range of human emotion, given their extreme environment).
If we argue for refugees to be freed from the prison of camps, how can we argue for the psychological prison of personality straightjackets? One where refugees and humanitarians must be heroes with halos to counter the state’s determination to turn them into criminals. There are no heroes in Sami’s paradise. Just crazy human beings and accidental saints; the second act starts with a Last Supper-like scene, a golden-crowned Sami surrounded by twelve cast members on the eve of his planned death. Every hustler is determined to write their own version of his legacy once he’s gone.
Ozucelik presents an increasingly tortured soul in Sami, and Garber delivers some of the funniest lines as he never stops looking for the angle. Hazem Shammas (as writer and poet Hazem) exudes experience and confidence. Paula Arundell, as Sami’s mother-in-law Fima and femme fatale Fairuz, is excellent, at one point seamlessly transforming in seconds from one character to the other (particularly remarkable given she only recently ended another performance of multiple roles in the STC’s Top Girls). If there are any criticisms, they are small: the tuba is picked up and dispensed with so quickly we feel cheated of a promised musical plot. Ozucelik confusingly dropped his South African accent into flat Australian vowels once or twice (but that strangely had the effect of adding to the character’s duplicity).
Flack says the company was deliberately frugal in the production’s staging, using whatever furniture and material they could find in the Belvoir space. But that doesn’t detract from the show – instead it feels free of anything unnecessary. Sami in Paradise is the kind of theatre you hope to find. It is smart but it has plenty of heart. It is about serious things, but it is full of absurdity and finds humour everywhere. It might be a play about suicide, but it couldn’t feel more alive.