Australia Felix – REVIEW

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. 

Each character plays an important role in the retelling of George Clarke’s life. Tisha Keleman as Sarah uses coats and wigs on stage to swiftly transition from a narrator to one of the magistrates and judges who sentence Clarke at different points in his life. Freya Moore as Ruth transforms into many personalities, often providing comic relief with various accents and interactions with the others on stage. 

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

www.trybooking.com/COWVG