Imagine turning a break-in at the British Museum in London into a compelling rock musical. Well – it has happened. And, I am not just talking about any run of the mill heist either. Rather, it is about stealing back stuff that didn’t belong there in the first instance. So it is that Artefact (or Repatriation): The Musical is about cultural ownership and decolonisation.
A group of passionate individuals, driven by outrage, tried this (I am talking about the break and enter) once before, in Penrith a few years back, and it ended badly. One of their number – Charlie (who we never meet) – got left behind, was taken into custody, beaten and died. The instigator of that raid, anthropologist Winny (Lincoln Elliott), remains angry and upset about what happened and blames himself.
But now he is set on another risky foray to reclaim precious artefacts – four in particular – that have been misappropriated. Though the same crew who failed last time are hardly enamoured with the idea of setting foot into “shark infested waters” again, they relent. All except Charlie, who has been replaced by an equally ardent advocate of countries and governments doing the right thing when it comes to cultural artefacts.
He – Kelly (Joe Kalou) – is of Hawaiian heritage. The others in the raiding party are Winny’s sister Vinny (Natalie Abbott), Matty (Ava Madon), a lawyer, Nelly (Rachel Crossan) and Vicky (Ellis Dolan). Meticulous in their preparation, they fly to London and stake out the British Museum, before making their move.
The question isn’t only whether they can lay their hands on the objects, but presuming they can, whether they can get out unscathed. Regardless, their fight for restorative justice will continue. Narrated by Blake Appelqvist, Artefact (or Repatriation) employs a rousing four-piece band. As musical director, Andy Freeborn, on keys, conducts. Then there is Nathan Barraclough on guitar, Alex Maretello on bass and Jarrad Payne on drums.
It was Lincoln Elliott who created the show as part of his doctoral research into identity and self-determination in contemporary Australian musical theatre. He has not only produced the work, but wrote the book, music and lyrics. That includes bold rock numbers and more reflective ballads. He describes it as emo rock. That is a subgenre of rock music, which combines energy and aggression with vulnerability.
Born out of resistance to and repudiation of the status quo, Artefact has rebelliousness, humour, heart and pathos. The storytelling lays out the plan, its execution and aftermath, and it is most engaging and entertaining. It also provides food for thought. The talent is impressive with some terrific vocalisation. The singers harmonise magnificently. Led by Elliott, all are also given the opportunity to shine through soaring and heartfelt solos.
There is a collegiate feel in play, with each backing the others. A few well-chosen props, think headwear and kazoos, help lighten the mood, and put a smile on the dial. Director Manali Datar is to be congratulated for what she has been able to achieve in this development presentation of the work, being a concert run through.
One hundred and five minutes without interval, it was very well received by an enthusiastic audience at Chapel Off Chapel. Now, I long to see how it evolves – hopefully as a full stage production, replete with sets and costuming – for that is warranted.
Alex First
Other reviews you might enjoy:
- Urinetown: The Musical (Chapel Off Chapel) – theatre review
- Evil Dead: The Musical, at Chapel Off Chapel – musical theatre review
- The Marvellous Elephant Man: The Musical (Chapel Off Chapel) – musical theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.