Big Name, No Blankets – REVIEW
Image: Big Name No Blankets, Roslyn Packer Theatre. Photo by Brett Boardman
Big Name, No Blankets opened the Sydney Festival’s stage at the Roslyn Packer Theatre last night, and unlike so many lukewarm responses to big ticket shows throughout last year, this musical with a huge heart and a large soul, was enthusiastically received from the beginning to its end.
A collaboration between Warumpi Band founders, the Butcher family, and producers, ILBIJERRI, Big Name, No Blankets deals with the arc of the band from its origins, through its ascendancy and eventually to its demise, with humour, drama, song and skill.
Developed over five years with writer Andrea James and co-director, Anyupa Butcher, the play is proof that time spent in preproduction can pay off big time.
While there is nothing new in how the rise and fall of the Warmupi Band develops, it is underscored by the Aboriginal cultural context in which the group existed.
The Warumpi story begins on the remote Northern Territory outback settlement of Papunya in 1980 as Butcher brothers, Sammy (Baykali Ganambarr) and Gordon (Teangi Knox) are exploring rock music, hearing it first on a portable record player, and then copying it using rudimentary instruments.
They are joined by brother in-law George Burarrwanga (Googoorewon Knox) and shorty afterwards by white fella Neil Murray (Jackson Peele), who is working nearby as a schoolteacher and labourer.
He also has the equipment that they need, but will later reveal his real contribution, songwriting.
Starting out playing locally, they soon expand into Western Australia while playing their unique brand of rock, r’n’b and country and will later write “Fitzroy Crossing” as a thank you to those early audiences.
In 1983 the band release their debut single, “Jailanguru Pakarnu”, in the Butchers’ Luritja language.
About a friend coming out of jail and trying to fit back into the community, the song resonated wth audiences and the rise of Warumpi begins.
Within a short time they are supporting Midnight Oil, and playing in PNG, Solomon Islands and Vanuatu before later heading to Europe.
Cracks begin to appear when the pull of family and cultural commitments result in the Butcher brothers leaving.
The original members are also questioning Murray’s dedication to the band as he pursues a solo career.
In 1987 Murray and Burarrwanga would record “My Island Home” as Warumpi with new members, and despite sporadic performances, the end was in sight.
Writer Andrea James is the custodian of the enormous legacy of Sammy Butcher and his extended family and has shown great skill in distilling a10-year story to its essence without overloading any of the many subject matters that the storyline deals with.
Co-directors Anyupa Butcher and Rachael Maza have excelled in keeping the pacing and movement tight without destroying any of the nuances of the script and performances.
Jenny Hector’s lighting compliments set designer Emily Barrie’s simple and ever changing set of a simple campfire and backdrop as the narrative moves from day to night and locations around Australia and the world.
Sound arranger, Crystal Butcher has a hard job keeping the mix relevant as the action moves from dialogue to performance and this needs more attention.
The band, who are seen in ensemble, consists of Jason Butcher, Jeremiah Butcher, Malcolm Beverage and Gary Watling; they provide a constant support to the main performers.
Googoorewan Knox (Black Show, Broken Stories) carries the considerable charismatic qualities of George Burrarrwanga on his shoulders with ease. His dance movements in the early moments of the play and his later playful takeoff of Peter Garrett in full flight are standout moments, as is his dramatic standoff with Jackson Peele’s Neil Murray later in the production.
Musically, his version of “My Island Home” in language is delivered almost as a powerful protest.
The story belongs to Baykali Ganambarr (The Nightingale, The Furnace) as Sammy Butcher, who proves to be an engaging and trustworthy guide throughout the story, while playing a mean Fender Stratocaster.
As Neil Murray, musical theatre performer Jackson Peele has chosen the perfectly laconic approach that allows the the others to shine, even though he is supplying the majority of the hits.
Cassandra Williams, Desert Pop Lock and Drop singer, gives us some outstanding examples of her incredible vocal range as she navigates the roles of Suzina and Mum, while also performing ensemble duties.
Aaron McGrath (Redfern Now, Mystery Road) doubles as Brian and ensemble and Tibean Wyles (Black Comedy) plays Ian and as part of the ensemble.
By the time the musical gets to the closing Blackfella/Whitefella the audience is on their feet and clapping and stomping in appreciation, with a standing ovation lasting way past when the last note is played.
This is a show that proves that the concept of reconciliation is still alive and that has always been the Warumpi band’s message.
