Cloudstreet

There are few feelings more pleasurable to experience in a theatre than that of pride in a new Australian work, one that has taken artistic risks, confronted and confounded the seeming contradictions at its core, emerging onto the stage as both a splendid entertainment and a work that looks to have the power to endure and spread its magic through the years and across the nation, if not the world.

Your humble reviewer confesses to not having read Tim Winton's novel Cloudstreet. With this minor caveat out in the open and out of the way, here's what you most need to know, dear reader: this show is marvellous. It is accessible, entertaining, emotionally engaging, intelligently textured, stunningly designed, and superbly performed. The story delves into our country's past without falling prey to easy nostalgia; at heart, it's a tough tale of family survival.

George Palmer's achievement here, as composer and librettist, is beyond impressive. The confidence and vision needed to apply operatic musical settings and traditions to the time, place, and language of Cloudstreet has resulted in an Australian opera that can communicate to those who are thoroughly unfamiliar with the art form, and Palmer has achieved this not by crafting a succession of potential pop crossover hits, but rather a sustained, richly satisfying sense of flowing melody and harmony.

The potential incongruity of an opera sung in Australian English - with historical vernacular completely intact - simply never becomes an issue; Cloudstreet feels as natural and organic on the musical stage as one could reasonably expect. The Adelaide Symphony Orchestra are consistently supportive and dynamic here, without ever overpowering the voices – and what voices…!

There is not a significant weak spot across the entire ensemble. In particular, Desiree Frahn's embodiment of young woman Rose Pickles, from adolescence to adulthood, is simply astonishing, a performance that convinces and captivates at every turn. Joanna McWaters, as mother Dolly Pickles, is another splendidly rich, engaging, complex figure. Barry Ryan is the ideal embodiment of cuckolded husband/father Sam Pickles.

Pelham Andrews brings a pleasing stage presence and a sympathetic centre to the role of Lester Lamb, while Antoinette Halloran delivers many powerful and striking moments as Lester's wife Oriel. Though Nicholas Cannon as Quick Lamb appears roughly the same age as his stage father at times, it is a lovely characterisation. Don Bemrose's appearances playing Bob Crab add a particularly mystical layer of intrigue to this saga.

Victoria Lamb has conceived a seemingly simple set that – in tandem with virtuosic, transformative lighting and video design by Nigel Levings and Craig Williams respectively - turns out to be brilliantly versatile and evocative, while Ailsa Patterson’s costume design is helpfully adroit in documenting the passage of time that is so crucial to this tale. Credit also due to Jane Rossetto for ensuring that sound levels are clear and well-balanced throughout.

Despite the very high level of satisfaction that it achieves, this is not quite a perfect piece of work. The intellectually impaired character known as Fish, though generally rendered with sensitivity and skill by Nicholas Jones, is uncomfortably reminiscent at times - in voice, manner, and appearance - of comic actor Ben Stiller's satirical creation Simple Jack, which tends to be an unfortunate distraction, though far from a fatal one.

Also, while the parts of Winton's text that deal with aspects of indigenous heritage are beautifully visualised and respectfully dramatised, the precise meaning and significance intended was not fully grasped by this reviewer until perusing the programme notes post-performance. This in no way hampers the viewing of Cloudstreet, but it suggests that there may be room for further clarification in the journey from page to stage.

Director Gale Edwards and CEO/MD/Conductor Timothy Sexton, along with all members of their artistic team, deserve the highest praise for delivering a truly excellent, truly Australian piece of living theatre that may, in fact, have the potential to reach more appreciative audiences than any local opera in history.

Anthony Vawser