The Hate Race

The Hate Race
By Maxine Beneba Clarke. Directed by Tariro Mavondo & Courtney Stewart. Beckett Theatre, The Malthouse. 113 Sturt St, Southbank, Melbourne. 27 February – 17 March 2024.

The Hate Race is a magnificent adaptation of Clarke’s memoir which charts her experience of growing up as an Australian of Afro-Caribbean descent. Her story chronicles her experience of otherness and provides a moving insight into the emotional turmoil caused by the daily episodes of discrimination. However, Clarke’s book is emphatic about rising above this through pride in your heritage. This show is much more than a mere adaptation of the novel. It is a clever, creative, and compelling reimagining of the story for the stage. It incorporates poetry, performance art, music and movement and evokes a range of colourful characters in an incredibly vibrant and joyful manner. 

Zahra Newman brings Maxine and her family to life in the most extraordinary manner. There are no costume or set changes, nor are there any traditional props. Newman relies solely on her performance expertise to summon the different characters at her will. They are given distinct shape and contour which makes them easily identifiable, even though their presence is distilled through the one performer. Newman’s performance is a remarkable and highly energetic tour de force that should not be missed. 

The presence of multidisciplinary performer and musician, Kuda Mapeza is also extraordinarily clever. She provides a beautiful and stylish musical and performance accompaniment. Mapeza accentuates or highlights Newman’s movements, thoughts, and emotions. The effect is particularly striking and drives home much of the very sharp wit in Clarke’s writing.

The staging is equally impressive; a simple but colourful setting provides different spaces and platforms, and Newman exploits every inch of the space. The lighting and the sound are in perfect tune with the performance and the cohesive nature of the combination of effects is often simply awesome.

There has been a tendency in a post-COVID era to consider standing ovations as somewhat mandatory or gratuitous. There was nothing of the kind in the spontaneous enthusiasm that filled the audience and instantly drove everyone to their feet at the conclusion of this spectacular show.

Patricia Di Risio 

Photographer: Tiffany Garvie.

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