Working: A Musical

It's a brave choice to pull together a fully-realised musical, exclusively for a mere two-night stint at any festival – let alone one staged in Launceston, but with Tyran Parke's contacts, resources and passion, this kind of outrageousness has become de rigueur for the Australian Musical Theatre Festival, now in its 6^th year.

Additionally, it's a (relatively) little known and oft-revised Broadway show at that. Featuring songs written by luminaries such as Lin-Manuel Miranda, Stephen Schwartz, James Taylor et al, the narrative premise forms a patchwork quilt of monologues, encompassing a vividly diverse range of work experiences. Hilarious, relatable accounts concerning service industries are juxtaposed it with poignant and sometimes darker stories - from the harsh, monotonous conditions of construction industries and unsung domestic work, through to sex work.

The curated collection of local monologues sprinkled in among the quintessential the American voices could have provided a big contrast, but stone the flamin' crows – it all flowed together really well. Casting literal superstars like Caroline O'Connor and Johanna Allen to perform alongside seasoned, local talents and younger, emerging performers... and then directing it mostly remotely – ought to have been a recipe for anxiety. But, when you're a lecturer at the VCA, you have the luxury of incorporating a top-notch student ensemble into the mix. To say they provided the framework, plus (to really nail home a metaphor) the bricks and cement is an understatement. 

To sum it all up: Working (Reworked) absolutely worked. Indeed, it rocked. Even the slight opening night hiccups felt scripted, choreographed and directed.

Obvious highlights were the aforementioned National Treasure – Caroline O'Connor, whose hilarious physical comedy matched her pristine vocals as The Waitress; while Johanna Allen left nary a single eye dry as The Housewife. Given that both of these performances were next level, one might presume the contrast of placing them alongside less polished performers might be a bit jarring. On the contrary. The wide variety of styles, ages, abilities and interpretations all provided a more mindful, emotional experience. One minute you're in total awe of flawless technique – the next you are knocked sideways by the raw talent and youthful exuberance of the core VCA ensemble; then identifying strongly with the authentic local pieces. 

Michael Edgar, Samantha Hammersley, Alana Lane, Jack Lark, Sam Leaman, Prophecy Mudzingwah were just a few of the outstanding local names in the cast of 29. Considering the lack of real time, in-person rehearsal, the delightfully chaotic, kinetic choreography was on point - on many levels. To slaughter yet another metaphor, this tossed salad of a production did not lack a single element. Dynamic musical arrangement accentuated the overwhelm of it all, as well as punctuating the poignant stillness. This melding of a genuinely diverse cast from all walks of life provided the perfect dressing. Congratulations to all concerned. I would heartily recommend 'localised' versions of WORKING to all regional community theatre companies.

Rose Cooper

Images: Cameron Jones and AMTF