Reviewed on Friday May 13, 2002Alexander Theatre, Monash University
In my decade or more of reviewing for Theatre People, I have had the privilege of attending several world premieres. Critiquing a preview, however, is a new milestone for me.
Staging anything the first time in front of an actual audience is terrifying yet imperative to its development. How viewers react to or understand the creative team’s intent, is crucial to its overall success. Meaning, that tinkering with a theatrical piece in development or full flight is nothing new.
For example, works that debut on Broadway often go ‘out of town’ beforehand to tighten up and refine any of the kinks. One recent example, 9 to 5 had a major overhaul from playing in New York City in 2009 and London’s West End revival ten years later. As a result, 9 to 5 ended up being a very different experience between both productions.
Driftwood is a brand-new chamber musical based on the book of the same name by Eva de Jong-Duldig. In summary, de Jong-Duldig’s text details how her father and mother, Karl Duldig, and his wife Slawa Horowitz-Duldig, escaped their home in Vienna during the German occupation of 1938. With an uncertain future ahead of them, the couple found brief respite in Singapore before landing in Australia. Their shared story of love, courage, survival, and reinvention, forms the basis for this drama.
Very much a tale about how making art may define and enrich us, and what happens when that is lost, reminded me of the film, Woman In Gold (2015). As my astute plus-one for the evening said, art isn’t something you do, it is who you are.
My biggest takeaway from Driftwood was how Karl and Slawa individually responded to their toughest moments. He was driven to create at all costs; she was hobbled by them.
Covering five decades, Driftwood is a sprawling memory piece which covers vast emotional, historical and geographic territory. It may not be big and shiny like several of the super musicals touring Australia right now. However, it must be stressed that both of those qualities do not make this show any less significant.
In fact, the story’s gentle introspection reminds me of three works I have reviewed or watched. These being, A Different Way Home (by Jimmy Chin), The Glass Menagerie (by Tennessee Williams) and Titanic: The Musical (by Peter Stone). What they share with Driftwood is key to its success. The cast rarely play to the audience, but instead, to each other.
In doing so, the staging becomes highly personal. As viewers, we are almost eavesdropping on private moments and key episodes in the story. The decision to stage Driftwood this way gives de Jong-Duldig’s journey cathartic presence. Further still, it may even inspire viewers to put pen to paper and document their family histories as well.
Driftwood, as its producer, creator and star, Tania de Jong AM, emphasised during the after party, took a village to build.
Directed by Gary Abrahams, he stepped up to the plate mere weeks before this preview. Having reviewed Bad Jews, Hand To God, and Yentl, like those shows, Abrahams helms Driftwood with the same degree of focus and precision. In his care, expert pacing allows both the story and the characters to breathe and grow as one. It is an experience which always keeps our interest.
Whether by chance or timing, Jane Bodie’s book not only keeps the legacy of Karl Duldig’s and Slawa Horowitz-Duldig’s memory alive with deeply felt sensitivity, the current conflict between Russia and Ukraine, demonstrates that history can ominously repeat itself.
Her writing is underscored by the musical director, Anthony Barnhill’s rich and melodic composition. His combination of words and music both propel the action and expand on significant moments without feeling obtrusive. Standout songs for me include ‘Beneath The Southern Cross’, ‘Sisters’, and ‘Masterpiece’. That he has blended traditional a musical theatre sound with light opera to showcase the entire cast, highlights his talent as a musician and their collective ability to execute it.
Jacob Battista (set design) and Kim Bishop (costumes) do a lot of the heavy lifting to establish both time and place. Constructed in warm natural textures, the multi-purpose space harnesses numerous scenes to equal effect. Bishop’s stylish costumes are rich, colourful, and era specific. They are supported by Harrie Hogan’s mood lighting, and Justin Gardam (responsible for Sound and AV Design).
Positioned above the action, Gardam’s back projection hovers like a torn piece of paper from a family scrapbook. Highlighting the couple’s race around the world using maps, photographs and newsreel footage, adds to Driftwood’s historical tone.
The trio of Rebecca Poulter (Production Management), Sian Halloran (Stage Management) and Claudia Howarth (Assistant Stage Management), maintain the show’s technical demands at all times.
Sara Reed plays Eva, the show’s narrator. Her youthful zest and enthusiasm reminded me of protagonists from two other Australian musicals, Luisa Scrofani’s Sybilla Melvyn from My Brilliant Career and Sarah Morrison’s Lisa from Ladies In Black.
Theatre veteran, Anton Berezin, plays Karl with tremendous range and heart. Desperate yet determined, Bezerzin injects Duldig with the glue necessary to keep their family together.
As Rella, Michaela Burger is very much the family’s actress. Funny and full of life at one moment, or serious and contemplative in the next, her characterisation gives Driftwood many moments of light and shade.
With three decades of industry experience to his name, Troy Sussman plays a multitude of roles. As Ignaz, Marcel, Gauleiter and more, Sussman slips between each supporting character with consummate ease.
Several years ago, Tania de Jong was the keynote speaker at my school’s staff welcome workshop. Having dedicated her life to music, becoming the driving force behind her mother’s memoir seemed like a logical next step. In bringing this ambitious project to life, makes perfect sense for de Jong to take on the role of her own grandmother. More than playing a part, this is a fully formed tribute to someone changed by the ravages of war.
To give Driftwood its due, one needs to mull over the full experience. Quite meta in its execution, this is a show prepared to take risks and challenge theatrical conventions head on.
Playing at Monash University’s Alexander Theatre this weekend, Driftwood has its official opening on Wednesday May 18 at Chapel off Chapel.