As a creative Stephen Goldrick, the writer and director of this show, has displayed a quirky and unique sense of humour in his recent musical works (Anvil, The Pyjama Girl), which continues in Sebastian. Originality is the stuff of successful artistic and theatre creation, and he is to be encouraged to trust his own voice. Sebastian has a strong, indeed arresting, plot, characters and style. It is based on two imaginary journeys – a girl Josephine (Millie Thorn) and her imagined friend Sebastian (Gaveen De Silva), and the girl’s father Dave Wilson (Brad Weightmann). The former journey is triggered by her being mute, the latter by the father’s despondency about her daughter, particularly about her fondness for an imaginary friend. Josephine gains her voice, but not soon enough to prevent her father taking his life.
The result is a sweet smelling potpourri of vignettes, songs, undisclosed encounters, magic realism and everyday buffoonery that has the making of psychological vaudeville. The set and lighting design (Michael Godbee) are excellent, including some tall anime figures for the expressive court hearing about Josephine and her friend, and Martin Sharp cartoon style background designs throughout the show. The set functioned well for entrances. Tony Lockett and Brad Weightmann were both great in their leading male roles, and Alexandra Haber and Anne Gennen were up to task on their various female parts. Stephen Goldrick also played several characters with a lot of gusto. Gaveen De Silva was striking and convincing as the secret character, with the delightful benefit of listening in on other roles. Millie Thorn had a waif like charm in her role.
Despite its lively appearance, the show was quiet, and it is possible a full musical score with keyboard player would smooth transitions and add more rhythm. The program called the genre “tragic/comedy”, and that is fine but perhaps one mode should be dominant. If drama (and the story provides enough room for that), comedy can be sweet and lyrical, and there is room for musical and dramatic intensity, and character development. Could Josephine speak and sing throughout, if only to her secret friend? Finally I am unsure about the depiction of suicide, at least in the way it was done, on stage.
This show has a robust concept and an expressive range of materials, and with further development and coherence certainly deserves future presentation.
Written and directed by Stephen Goldrick
Wollongong Workshop Theatre
Saturday 10 October
