[usr 5]
Like a recent review for DARKNESS at The Library Newtown, this review of LOOKING FOR ALBANESE (The Wharf Review) at Pavilion Theatre Sutherland is as much about the venue as it is the show. In both cases the performance of the opening show at a new, or rather renovated, theatre occurred. Of course unlike the Newtown play, the Wharf review is not a new show – its current version is the latest of annual variations stretching back for over a decade, and as testified by its substantial annual production schedule the show has developed quite a dedicated following. It comes around like Christmas – audiences know what to expect, and they like it. Uncertainties that are inevitable with a new or untested show fade away confronted by this hugely accomplished and genuinely funny revue.
The cast (Jonathan Biggins, Phillip Scott, Drew Forsythe and Mandy Bishop) are highly skilled and share caricatures of familiar politicians. It’s hard to choose a favourite – Bishop as the Tamworth talent Jackie Lambie or Wentworth MP Allegra Spender; Albanese’s trip down the rabbit hope to Wonderland (Queensland) to meet the likes of Katter and an impeccably rendered monologue by Pauline Hanson; a overwhelming music number by Peta Credlin; the Inner city Side, West Side Story inspired Jets musical number featuring the Labor gang. Each item (and there are many them) is theatricalised, with projection, lighting, costume, caricature and carefully rendered lyrics, song and dialogue. It is all certainly well written – achingly so at places – and composed, and the audience loved every minute.
Having said that much of the material was safe, and familiar, an outlet for frustrations and perceptions about known politicians, collectively shared although not always expressed. There was no sketch directly on the ex PM and sitting member Morrison, or if there was it was not performed in the heartland of his seat. There was also nothing elaborate on the Ukraine – comedy hits the wall at the place where it might be needed most.
The show thrives on optics of childish play done at work in political life, and layers acts with references to Playschool, the Wiggles, Alice in Wonderland and the like. There was one poignant song for Afghanistan, but apart from that nothing was sacred. And here’s the rub. There certainly is a need for political comedy, and we have a suspicion there is less of it now than in earlier years and less on television. We suspect the cumulative years of the party last in government inhibited free speech, in the ABC and society generally – soft censorship was at play, and in its place ribald and serious social and mainstream media comments grew.
On the other hand one likes to give the current government and society generally a breathing space from simplified, brash, often Murdoch inspired attacks. Genres like comedy can generate their own content in the search for audiences and novelty, and substitute for fair or constructive comment. Politics were very different 10 years ago when the Wharf Review was growing – it was more divided, and some figures called out for tough satire. The current decade has many urgent issues – climate, war, a brittle economy – that could challenge the repertoire of comedy writers. Does a show like the Wharf Revue pander to armchair politics of voters alienated from real participation, or is it itself a means for participation?
Having said that, on the whole LOOKING FOR ALBANESE punches the current government with kid gloves when it comes to the current government. In one sketch we laugh at Albo in aged care in 2050 when the figure of death visits. Albo boasts about his six terms in government, and how he only stood aside in the face of the only viable opposition, the Jackie Lambie network. He then sends the figure of death off down the corridor to visit a member of the extinct liberal party.
This two night season was a later starter for what was the 2022 Wharf Revue show – it has previously played a full season at the Seymour Centre, with additional shows at Riverside Parramatta and IPAC Wollongong, and a forthcoming long season due in March at the Glen Street Theatre – but you wouldn’t know that from the Sutherland shows. The shows were sold out, and the audience was warm in their appreciation as the night outside was hot. You could feel the evening outside with rapid scenic exits to the newly landscaped forecourt. The Sutherland Entertainment Centre, rebranded The Pavilion Theatre, looked good on the night, equipped with a fully raked seating, comfortable cloth seats, and re-equipped stage. Southern Sydney, particularly the Sutherland/Cronulla/Menai region, now has a legitimate main theatre. It will be interesting to see how the space will be programmed with its close vicinity to central CBD – but there is no reason audiences south of Sydney should have to travel to inner city venues all the time. Unlike the Library at Newtown, design at the Pavilion is contemporary, honest and appealing for a main audience.
A good start.