The musical we had to have
The
synchronicity of this return season of the expanded version of
Casey Bennetto's Keating!, opening the day after Prime
Minister Rudd's 'Sorry' speech, could not have been better, linking
as it did, that event with former Prime Minister Keating's similar
act of reconciliation in the 1992 'Redfern Speech'. Already an
existing number in Keating!, the 'Redfern' song was even
more of a showstopper; a song about acknowledging the bad effects
of government-implemented policy toward an indigenous population
is probably the most unlikely showstopper in the history of the
musical. Keating! is hardly a typical musical though.
Before the present makeover by Neil Armfield, Keating!
was a rough and tumble 'pub show' with mock pop songs in place
of the musical hybrids of the modern day musical. At heart, it
is like The Rocky Horror Show or Nick Enright's The
Venetian Twins, that also started out as modest shows getting
bigger and more polished but never losing their larrikin edge.
Keating! is also a piece of prime political
satire, albeit not current politics, full of favorite and forgotten
anecdotes dished out with the type of irreverence that hasn't
been seen since the days of The Gillies Report. Two of
the cast, Terry Serio and Brendan Coustley, even tackle their
roles with the gusto of Gillies. Mike McLeish impersonates the
hero Paul Keating a different way. The strange thing about McLeish
is that he doesn't initially look or seem to try and look like
Keating. He adopts mannerisms, the expensive suits and stance
and just IS Keating.
The expanded version begins in 1990 with Bob Hawke
(Serio) warming up the audience 'Les Patterson' style. The brash
vaudeville routine of Hawke is succeeded by Keating's sophisticated
'Bob Fosse' routine. Keating's unique blend of sarcasm surfaces
when he battles his first opponent Liberal Party leader John Hewson
(Coustley) in a rap number ending with Keating's memorable promise
to Hewson "I wanna do you slowly mate" . In act two
Coustley appears as Hewson's short lived successor Alexander Downer
in the now famous 'Freaky' transvestite number. Again the lyrics
are peppered with memorable lines like Downer's gaffe about 'things
that batter'.
There is terrifically funny interlude for the clandestine
lovers Gareth Evans and Cheryl Kernot but it is Serio's appearance
as John Howard - ironically just after the 'Redfern' song (echoing
his non-appearance at the 'Sorry' Speech) that the razor sharp
satire threatens to slash its victim. The portrayal of Howard
is cruel, clumumping, toad-like onto the stage, accompanied by
a jack-booted marching tune like Shakespeare's Richard III.
The script also indulges in Howard-isms from long into his term
as Prime Minister, the morning jogging (cum media opportunity)
sessions, the morale boosting trip in combat fatigues to Iraq
(cum media opportunity) and the promise to 'never, ever' introduce
a consumption tax (cum media disaster).
Serio is excellent as Hawke and devastating in John
Howard scenes with his hundreds of Howard-isms, each one more
wicked the last. Even in the midst of his over-the-top drag routine,
Coustley manages to project a sense of ineptitude for the 'poli
as dolly' Downer , while writhing provocatively he rolls of the
platform or gets a fit of the giggles like a naughty schoolboy.
Keating! is easily the best musical show
in town, serving each return season with the same vigour as its
namesake served each new term. It is a delight to watch; the performers
seem to be enjoying themselves. The band is fantastic, above and
beyond the ordinary pit band that accompany a musical. They are
up on stage, hilariously playing at any time chorus, the occasional
solo or even at one point, where Enio Pozzebon plays Gareth Evans,
joining in the action. The band even seem to be enjoying themselves
too, and that's saying something!
Michael Magnusson
To read more of Michael Mangusson's theatre reviews,
check out his blog at
On Stage (and walls) Melbourne.
