Review: Hilarious, Hopeful And Full Of Heart, BLACK IS THE NEW WHITE Shares Politics, Love And The Challenge Of A Combined Family Christmas

Monday 29th May 2017, 6:30pm, Wharf 1 Theatre Walsh Bay

Nakkiah Lui's new work, BLACK IS THE NEW WHITE gives Sydney Theatre Company audiences a glimpse into a different view of contemporary Indigenous family life in a fabulously funny tale of families, politics, love and loyalty. Directed by Paige Rattray, the comedy of class and culture examines an upper middle class Aboriginal family's connection to their past and their hopes for the future as they are forced to reassess their identity and privilege.

The premise of the work, presented as a blend of nature documentary and fairy tale by the Narrator (Luke Carrol), or Spirit of Christmas, is that lawyer Charlotte Gibson(Shari Sebbens) has fallen in love with experimental classical composer Francis Smith(James Bell) and the two intend to tell their families of their engagement over Christmas dinner. The challenge, aside from the usual stress of Christmas gatherings, lies in the fact that Aboriginal Charlotte is the daughter of prominent Aboriginal activist and former politician Ray Gibson(Tony Briggs) and Anglo Saxon Francis is the son of Ray's nemesis, Dennison Smith (Geoff Morrell), a former prominent conservative politician. Added to the mix are Ray's wife, Joan (Melodie Reynolds-Diarra), an educated woman who has stood in her husband's shadow out of love and duty, and Marie (Vanessa Downing), Dennison's wife, a somewhat disengaged socialite who has learnt to drown out the argumentative Dennison with drinking. Charlotte's sister, fashion designer Rose Jones (Kylie Bracknell), whilst not as smart, is fiercely devoted to protecting the longevity of her Aboriginal heritage whilst her ex-footballer banker husband Sonny Jones(Anthony Taufa) believes he has found god.

Designer Renee Mulder has adapted the flexible space of Wharf 1 Theatre to create display of Ray and Joan's comfortable upper middle class life in the form of a bright, multi-level open plan holiday home, earnt from Ray's success in politics. Mulder has given Rattray a variety of spaces for Lui's story to play out, with Ray's favourite chair overseeing the living area from the upstairs landing, an enclosed balcony seat providing a peaceful escape, relaxing futon sofas, and an open kitchen and dining space. The Gibson family heritage is expressed through the photographs and cultural artifacts that adorn the space whilst the season is indicated by the Christmas tree on the upper landing. Given the contemporary setting, Mulder has dressed the family members to capture their different personalities, from the somewhat scruffy and laid-back artist Francis' t-shirts and jeans, designer Rose's high street fashion of layers and heels, a contrast to her more serious sister's simpler dresses and flats. Whilst the Gibson's are at home and relaxed, the Smith's are dressed up with a formality that reflects their uptight and conservative nature. Progression of time and changes in mood are influenced by Ben Hughes lighting and Steve Toulmin has created some fun musical interludes, including works to represent Francis' profession.

Lui's script is bought to life with a perfect pace by the cast presenting some fabulous comic timing and physicality. Whilst some of the detail crammed the text leads to a slightly stilted delivery of some lines, particularly Joan's speech, the majority of the work is wonderfully realistic, tying in with the documentary style observation by the Narrator. Regardless of the audience's background Lui and Rattray have ensured a relatability and recognition of the challenges the families are facing whilst asking the audience to consider their differences and similarities to the Gibsons and Smiths and their pre-existing ideas.

Shari Sebbens is wonderfully engaging as the young lawyer questioning her career, family, privilege, cultural identity and connection to community. She captures Charlotte's vibrancy, tempered by her reason, logic and courage to question her purpose and the foundation of her family's success whilst she pursues her heart at the risk her family's disapproval. Charlotte's grounded reason is countered by James Bell's portrayal of Francis' awkwardness and inappropriateness presented with nerdy social ineptitude, presented with a physicality and excitement of a terrified young man, eager to please Charlotte's parents and deeply embarrassed by his own parents.

Melodie Reynolds-Diarra gives Joan a grounded balance and reason to counter Ray's egotism and immaturity which Tony Briggs captures with humorous results. Vanesa Downing allows Marie to be seen as shallow and conservative before she allows the façade to slip and with Marie's truth revealed which also allows the audience to see Downing's comic ability as her growth also highlights Dennison's obstinacy. Morrell captures the upper middle class, entitled ex politician's sense of entitlement and superiority along with his unease and prejudice.

Anthony Taufa's turn as the ex-footballer, once a pillar of the Aboriginal community, now corporate banker, is played with a humour and sensitivity as he presents Sonny as a sterotype of the somewhat dim-witted sports star. He counters this with the expression of Sonny's soft side, joining with Francis to be the peaceful influence in the house as both men seek to be liked by everyone. Kylie Bracknell (Kaarljilba Kaardn) captures Rose's prejudice and volatility whilst expressing her vulnerability and insecurity that she feels she needs to do something to defend her culture but doesn't really understand her position in it.

Overseeing the unfolding story, Luke Carroll is fabulous as the 'Spirit of Christmas' Narrator who fills in details along the way. He engages directly with the audience with a captivating charisma of a cheeky angel, hovering on the periphery and occasionally interacting with the characters to their bemusement. As with the rest of the work, Carroll presents the Narrator with a natural Australian voice, paired with a delightful glint in his eye and gleeful smile that helps engage the audience.

BLACK IS THE NEW WHITE is a fabulously funny story, suitable for all audiences, regardless of background. It is thought provoking whilst not being too weighty and is beautifully executed. It presents a new and interesting exploration of what it is to be an Indigenous Australian when the socio economic divide between Black and White is reduced.

BLACK IS THE NEW WHITE

Wharf 1 Theatre Walsh Bay

5 May - 17 June 2017

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