It has been tucked away for the best part of 50 years, but thankfully Victorian Opera has revived a quintessentially Australian musical about bushranger Ned Kelly. With book and lyrics by Reg Livermore AO, the story in the company’s new production is compelling.
It moves from the northern districts of Victoria and the formation of the Kelly gang in 1878 to Kelly’s execution at the Old Melbourne Gaol on 11th November, 1880. That happened after he was found guilty of murdering police at Stringybark Creek in Victoria’s High Country and sentenced to death by the same judge who brought down his mother. From go to whoa, Ned remains a popular figure and that includes carousing with the townsfolk of Glenrowan before his final showdown.
The original score by Patrick Flynn and additional music by conductor Simon Holt are oh so appealing, covering a gamut of styles, lurching from brooding to up tempo. The Victorian Opera Chamber Orchestra has done the work proud.
As for the 20-strong cast, led by Ethan Jones as Ned, they give their all and make one hell of a fist of it. Jones has different layers to his performance – from bravado to reflective – and ensures they count. With a striking voice, Maria Mercedes brings gravitas to her portrayal of Ma Kelly.
I immediately bought into Robert Grubb’s vocalisation of police superintendent Hare, leading the charge to capture the Kelly gang. His timbre and tone are commanding. Rohan Campbell has a strong presence as the reluctant turncoat Aaron Sherritt, leant upon by superintendent Hare.
In fact, there is ample opportunity for the key cast and ensemble to show off their wares. The chorus numbers are lyrical and captivating. And watch out for a camped-up tune as Reg Livermore plays the Bank of NSW manager, kitted out in full money regalia.
From the opening scene, with police parading the stage in uniform, and then with the appearance of the gun toting Kelly gang, I was sold on the costuming. While few props are needed to bring the story to life, the armour-style backdrop used in a number of scenes evokes the homemade iron armour Kelly wore. The set and costume designer is Harry Gill.
As gunshots ring out and birds’ tweet, the sound design of Samuel Moxham comes to the fore. The portent of doom is apparent in the mood lighting by lighting designer Gavan Swift, while the production makes liberal use of fog. Well-choreographed by Nicole Melloy, Stuart Maunder’s direction is pointed and powerful.
Reg Livermore’s Ned Kelly The Musical not only deserves this short revival, but an extended season and a national tour, for it has enormous appeal. Two hours and 20 minutes, including interval, I saw the final full-dress rehearsal of the production at Union Theatre, at the University of Melbourne, where it is playing until 25th July, 2026.
Alex First
Other reviews you might enjoy:
- Sweeney Todd: The Demon Barber of Fleet Street (Arts Centre Melbourne) – musical theatre review
- The Visitors (Victorian Opera) – opera review
- The Pirates of Penzance (Victorian Opera), at Palais Theatre – opera 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.
