Entertainment

Theatre Review: The Deep North

Presented by: Adelaide Festival Centre & South Australian Playwrights Theatre
Reviewed: 28 September 2022

What do four people from Uganda, a frazzled Port Augusta high school music teacher born in Albury-Wodonga, the headmaster of one of Adelaide’s most exclusive independent schools and Akan trickster deity, Ananse (god of Stories, Wisdom, Knowledge and Creation), all have in common? In Deep North, they all tackle the questions “Where did you come from?” and “Where are you going?

A very anglo headmaster asks young Ugandan, Jasmine, “Where are you from?” She replies, “Port Pirie”. Yes, it’s a laugh line, but it’s a weary old laugh for people of colour. Matt Hawkins, who wrote the book for this musical, recognises this recurrent need for identity and purpose, and brings all seven of his characters into a collision course with these questions. Matt, Artistic Director of S.A. Playwrights Theatre, has also directed this first production of a new African-Australian musical, as well as doing all the excellent videography work and playing Mr Clay, headmaster of a Very Good School.

The overall impression of this piece is one of good-natured, lively storytelling, with a spring of comedy constantly bubbling beneath many of the weighty topics it addresses. Human emotions are front and centre, and director Hawkins has made sure that all characters contribute richly human dilemmas to the story of African immigrants living in Port Augusta, trying to plan their futures while trying to ignore residual griefs and regrets… things from back in Africa which still snag them like a thorn bush.

Uncle Ebby, looking after his brother’s children Ben and Jasmine, earns his money as an enthusiastic but erratic house painter, with an especial fondness for Mission Brown. He wants to start up a new church in “godless” Port Augusta. Ben is the classic disenchanted late-teens lad, sick of school and eager to start doing rap gigs with his just-out-of-gaol pal, the feckless AJ. Jasmine, firmly focussed on a brighter future, is preparing to audition to win a music scholarship at an exclusive Adelaide school. Music teacher and school counsellor Ms Mendosa, a martyr to the Year 9’s, helps both Ben and Jasmine on their journey. And Ananse, spider-spirit and god of the story, presides over all. Hawkins’ writing is skilful and restrained, allowing the sincerity of the characters to engage and intrigue the audience. His light touch enables the spirit of playfulness to constantly buoy up the narrative.

Music, written by James Bannah Jr, is played by the composer himself, perched on the side of the stage at a small keyboard, plus guitar, plus laptop for soundscapes as well as enriched instrumentation. Lyrics are the creation of Elsy Wameyo, who also plays Jasmine. Wameyo works hard throughout the show; her character is pivotal. She has a very pleasing, tuneful voice, an easy manner, very good articulation and an acting intuition which serves her well. As Ben, her directionless brother, Tumelo Nthupi shines gently and consistently. His clear voice, whether speaking or singing, is excellent. He brings a wholly believable frustrated teen character to life without any sense of caricature, managing to underlay it with real warmth and honesty. Prosper Hakizamana, all elbows and expressive arms, makes the character of AJ a kinetic treat. Although his articulation is sometimes scrappy, especially in the rap sequences, his characterisation is terrific.

Solid as a rock, Jennifer Trijo plays the music teacher with an excellent acting range, beautiful vocal work (both spoken and sung) and a constant awareness of every other actor on stage with her. She’s funny, she’s poignant, and she’s strong. Her performance serves as inspiration for the younger cast members. Stephen Tongun gives his Uncle Ebby huge warmth and accessibility. He’s wholly at ease with his character, and his gruffly affectionate interactions with Wameyo and Nthupi were pitched just right. He also managed the regret, bitterness and pathos demanded of his role. Although his voice, particularly his singing voice, never feels fully at ease, Tongun’s intelligence and sensitivity are more than sufficient to give Uncle Ebby the breadth and warmth of character his role demands.

Ananse (as most gods do) demands special mention. Played by Vivana Luzochimana with a fine sense of ceremonial dignity, excellent dance/movement skills and a rich vocal timbre, Ananse commands the stage with all the status of a deity. The expressive elegance of Luzochimana’s work added a great deal to the mythic quality of the story. Thanks are due to Nina Richards for her clever choreography.

The set is very plain… two big flats onto which magnificent projections appear throughout the show. They consistently enhance the story and are aesthetically delightful. Alastair Schmidt (AV Designer/Animator), Kate O’Reilly (Visual Artist) and Wendy Kimpton (Graphic Designer) are all to be congratulated. Lighting Designer Mark Oakley further deserves praise for the visual shape of the show.

This is the very first outing of a new Australian music theatre work, so it is still in the development stage, especially the music. Some songs were pitched too low for the singers’ voices. Some songs have good promise but have yet to be refined melodically. I predict that thorough workshopping will build a distinctive African-Australian musical voice into this score, matching the confident intricacy of its book. It is a great pleasure to see this new work born; it deserves every chance to grow to its full potential.

Reviewed by: Pat H. Wilson

Venue: Space Theatre
Season: 28th September – 1st October, 2022
Duration: 1 ¾ hours
Tickets: $30:00 (conc. $25:00)
Bookings: https://www.adelaidefestivalcentre.com.au/whats-on/the-deep-north

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