Monday, 30 January 2012
State Theatre of Western Australia, Perth
Illuminating the dark past and shocking racism at the birth of Australia’s federation, Black Swan’s inaugural production of its 2012 season is a visually stunning submergence into the capitalistic history of Western Australia’s pearling industry.
Following the self declared “progressive” reporter Regina (Jo Morris), on assignment from Melbourne publication The Labour Gazette, we are ushered into an era that has some intriguingly similar secessionist musings to our own current affairs.
A federal government policy to ensure a strong labour market for white Australians means the displacement of all other races, seen as either inferior and dying out (indigenous); or foreign, coloured and therefore to be suspicious of (various Asiatic races including the Japanese and Malays).
These pearling empires are run by Anglo-Australian overseers, most notably Pigott (a strong and broadly layered performance from Ian Toyne); who has decided to break ranks and run the White Experiment, contracting three British Royal Navy Divers to satisfy the new government edict. These men are far from home and encounter contradictory and ruthless double dealing at almost every turn. With political and personal agendas as far reaching as vendettas and villages over the sea, trust is in short supply and these divers hapless in the wake of the deep blue.
Playwright Hilary Bell has workshopped and adapted John Bailey’s award winning book with the Black Swan cast and crew, and from all accounts has presented a reasonably even story in what could have easily been a two dimensional tale of the noble savage versus the white overlords. The push-pull effects of fealty and commercial interests can warp minds into justifying those ends that have acutely amoral means.
The amazing canvas of multi tiered staging painted by Set Designer Bruce McKinven and Lighting Designer Trent Suidgeest carved the Heath Ledger theatre into a space framed with nautical imagery and bright Broome light, starry night explosions and shadowy sly assignations. Costuming by Alicia Clements was gorgeously evocative and nostalgic, and the direction by Kate Cherry made full, free and inventive use of not just the ground, but the air to immerge the audience into this deep sea underworld.
While some of the various acting styles and accents could be construed as a little uneven, overall, this world premiere production will add a multicultural layer to the canon of West Australian history and insight.
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Great review. Jaymez.
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