REVIEW: New Australian Work, THE DISMISSAL AN EXTREMELY SERIOUS MUSICAL COMEDY Is A Brilliant Exploration Of The Time Democracy Was Undermined By The Governor General.

Tuesday 5th September 2023, 7:30pm, York Theatre Seymour Centre

Blake Erickson (Book), Jay James-Moody (Book, Original Concept and Director), and Laura Murphy’s (Music and Lyrics) long awaited new musical THE DISMISSAL AN EXTREMELY SERIOUS MUSICAL COMEDY has its World Premiere in Sydney.  Presenting the significant moment in Australian political history when Governor General Sir John Kerr (Octavia Barron Martin) terminated Gough Whitlam’s (Justin Smith) commission as the 21st Prime Minister of Australia, this work delves into history as a warning for the future and the need to protect the democratic process from unelected interference. 

On the 11th November 1975 the fictional journalist personality Norman Gunston (Matthew Whittet), the creation of Actor and comedian Garry McDonald, captured Gough Whitlam (Justin Smith) addressing the assembled crowd at Parliament House with the famous statement of “Well may we say “God save the Queen”, because nothing will save the Governor-General” and call to his supporters to “Maintain your rage” after the Governor General’s Official Secretary announced the dissolution of the government and the dismissal of Whitlam as Prime Minister.  Utilizing clever satire set to music and clever choreography, THE DISMISSAL AN EXTREMELY SERIOUS MUSICAL COMEDY is told through Gunston’s quite possibly distorted and exaggerated memories of the time and the events that led up to the shocking political upheaval including the influence of new Opposition Leader and eventual 22nd Prime Minister, Malcolm Fraser (Andrew Cutcliffe), and Justice Garfield Barwick (Peter Carroll), the Chief Justice of Australia.  

With the work presented as Gunston’s recollections of the events, which he repeatedly admits may be different to other’s memories of the era, the work is presented on a relatively bare stage, Set and Costume Design by Charles Davis and Emma White, the only significant feature added to the York Theatre’s thrust stage steps and platforms echoing the existing shape of the stage with the upper level having the ability to be retracted to allow more performance space or vertical variety like echoing the delivery from the steps of Parliament House, as required.  A Solari split-flap sign above the stage assists in following the changes in location and time.  Davis and White’s costume design anchors the work in the shifting eras while also delineating the socioeconomic differences between Whitlam’s Labor Ministers in older, ill-fitting suits and the Liberal Opposition Ministers that promote themselves as “Private School Boys”, led by the sharp suited Fraser.  Other costumes ensure the spirit of the characters are quickly understood, from Kerr’s cartoonish commitment to a top hat and tails and military medals in a position that all but Kerr saw as pompous and ceremonial, and Barwick’s monstrous hands and mysterious appearances, echoing Carroll’s recent role as the Mysterious Man in Belvoir’s INTO THE WOODS, inferring that the Chief Justice had sinister motives in his manipulation of the unsure Kerr.  James Wallis lighting design gives a touch of fanfare with lightbulbs on the proscenium and LED strips bordering the lower stage while moodier washes heighten energy of the Liberal’s scheming and pulls focus on moments of personal introspection.  David Grigg’s sound design ensures that Laura Murphy and Steven Kramer’s orchestrations and arrangements of Murphy’s songs are suitably bold in the broad York Theatre while elements like the side negotiations between Whitlam and Fraser are held in a suspended reality before they do battle across the  floor of the House of Representatives.

While the work does potentially stretch a touch more than necessary, THE DISMISSAL AN EXTREMELY SERIOUS MUSICAL COMEDY is a captivating piece of clever theatre that educates and entertains.  Viewing history from the memory of the contrived personality of Norman Gunston enables impressions to be stretched to hilarious limits like who would really believe that Fraser used seduction and sex appeal to secure his seat or that Queen Elizabeth II would be so forward in her desire for ignorance to what was happening in the colonies, nor that her Corgis leads could imply anything more than the standard accoutrements of dogs going for a walk. 

The cast assembled are universally strong, with the musical element of the work well and truly satisfied with bold performances that ensure that every word is clear and the underlying sentiments and emotions are clear.  The only challenge is that dramatic performances are delivered in Australian voices though vocals are delivered with more Americanized accents, possibly to satisfy how Murphy has phrased her lyrics which could possibly jar if delivered with Australian tone and cadence.  The choreography, created by Amy Campbell is delivered with precision and clarity while still having allowances for elements of individuality when appropriate. 

Shining a satirical light on political history, THE DISMISSAL AN EXTREMELY SERIOUS MUSICAL COMEDY is an interesting piece of theatre that has the potential to engage people differently depending on their generation and whether they personally recall the events portrayed.  For someone born after The Dismissal, only having read about it in history books or heard references to it, this work feels like a good summary of the situation while serving as a warning to not allow history to repeat itself and let democracy be threatened by manipulation from forces promoting agendas that may not reflect the majority of the citizens.  This new Australian work is definitely a must-see modern musical. 

https://www.thedismissal.com/

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