If I reference the word “suffragette”, the first name that will pop into many people’s heads will be Emmeline Pankurst (1858 – 1928). In 1903, she was a founding member of the Women’s Social and Political Union in the UK, which adopted the motto “deeds, not words”. Another associated with the movement was Sarah Jane Baines (1866 –1951), known as Jennie. She was a British/Australian feminist and social reformer. She was driven to create a more equitable society and focused on improving conditions for women and children. A dramatisation of her life story, JENNIE! combines fact and fiction.
It moves from London in the 1890s to Port Melbourne in 1927 and 1928. While pushing ready access to food, water and medicine at Speaker’s Corner in the British capital (where free speech was encouraged), Baines was no angel. In fact, she was jailed no less than 15 times for her crimes of insurrection before she, her husband and family were smuggled out to Australia to avoid further punishment.
Passionate to a fault, Baines took up where she left off in Britain. With her husband, George, supporting her all the way (he was a cobbler and ran a successful business), Baines tried out for a position on the all-male council. Labelled a Communist, she was duly rebuffed. Known for her recalcitrant nature, Baines was noted for taking matters into her own hands and that included hunger strikes.
She volunteered at a food bank and while witnessing the poverty around her questioned society’s values. Homeless children were effectively being locked up for stealing as little as an apple and she was intent on changing the status quo. To that end, she became an honourary probation officer and later a special magistrate of the children’s court. She and her husband took in children from the streets, but even her husband – who had the patience of Job – was tested by her dedication to the cause.
JENNIE! features a cast of six, most of whom fill multiple roles. They include Baines’ fellow food bank volunteer Dorothy, keen to enjoy some of life’s luxuries, and her union leader husband Tom, prominent in the 1928 waterfront strike. Also prominent are two destitute children (amalgam characters), 16-year-old Marianne and her brother Tom, 15, who is regularly getting into trouble.
Written by Melbourne-based playwright B. W. Shearer, JENNIE! provides insight into the sights and sounds of the working-class neighbourhood Baines sought to protect. It lays bare the challenges of a community on the cusp of The Great Depression and “it ain’t pretty”. I appreciated the belligerence that Marli van der Bijl brought to bear in her characterisation of Jennie and the softer tone of Amir Rahimzadeh as her husband. Both are polished.
Tristan Sicari has a larger-than-life persona as unionist Tom, while Lucy Norton brings an uppity feel to his wife Dorothy. Ivy Glenfield is accomplished as measured youngster Marianne, while Joshua Johnstone injects energy into recalcitrant Fred. Despite the occasional dropped lines, the cast handles the material – which I felt was a tad stretched (75 minutes could have been cut back to 60) – well.
Natural sounds (Sharyn Brand is the sound designer) and mood lighting from Natalia Velasco Moreno generate authenticity. A big winner is the wooden set design, with its nooks, crannies and signage by Ishan Vivekanantham. It gave me a strong sense of place. Scene transitions are seamless, the commendable work of director Karyn Lee Greig. JENNIE! is an eye opener into a woman of substance – opinionated, obstinate and obstructive – one who didn’t swim with the tide. It is on at Gasworks until 17th August, 2024.
Also worth noting and in keeping with the theme is a display by the Port Melbourne Historical and Preservation Society in the foyer. It presents a time capsule of the suburb in a series of eight panels and an elongated black and white photograph.
Alex First
Other reviews you might enjoy:
- Broken River (Gasworks Studio Theatre) – theatre review
- Gone Girls (Gasworks) – theatre review
- Girls & Boys (MTC) – theatre review
Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
