Bananaland

This unapologetic bash provides a unique foray into the creative minds of both author and director and includes a vast array of quips, wit, crudity and flamboyance as well as touches of good ol' 'Australian meatpie and sauce' humour enhanced by the colourful character of Ron Delbridge, veteran roadie, played by actor and stand-up comedian David Eastgate. With his natural flair for comedy, including a perfect set of bronzed hairy legs in true Ozzie style, he is the perfect choice for the part.

Finding a cast who can act, sing and dance let alone possess a comedic sense is no easy task, but find them they did: for example, the vocal talents and interpretation by Georgina Hopson, playing Ruby's sister, in the emotive 'Toby Use Your Inside Voice' (a reflection of mother/son separation) whilst Joe Kalou and Maxwell Simon are terrific as the additional band members, both having amusing contrasting characters.

Magnetic though is wittingly versatile Amber McMahon playing a multitude of characters from showbiz mentor (the ever-eccentric Mimsi Borogroves) to a cold corporate record producer and then kiddie personality Jessie Jam Jar, and so on, whilst Chris Ryan's remarkable resemblance to novelist, and character in the show, 'Stephen King' (in particular his moving musical soliloquy in the second act) was mesmerizing, amongst the other characters (Wade Sewage, Pikelets the Cat et al), all worth a mention.

This is a show that presents on two levels, comedic and kaleidoscopic in its appearance coupled with depth of character and, on first hearing, a profound musical score full of complexity, theatricality and subtlety. Praise must go to the creative team: after all, staging a new musical is a mammoth undertaking and all involved, in particular James Dobinson as Musical Supervisor and Orchestrator, Simone Romaniuk as Production and Costume Designer and Ben Hughes as Lighting Designer had a profound impact on the show's captivating presentation.

Highlights include the scene where the group transform a quasi 'punk' song into kiddie literature, the opening song of Act 2 when the group have transformed into full 'Wikki-Wikki-Wah-Wah' (the band's new name) mode, Joe Kalou's hilarious solo bathroom scene, the two girls' duet reflecting their childhood relationship, 'Grow Up and Be Kids', the simultaneous front-of-house and backstage scene during Chris Ryan's engaging rendition of 'Emotion': the list goes on .....

In any creative enterprise which includes a minimal plot (though the twist later in the storyline was noted) interspersed with hundreds-and-thousands there is always the risk of veering off the rails and losing your audience. Sometimes convoluted academia can interfere with the subtle impact of simplicity, where the writer is more involved with the in-depth substance of the opus rather than its immediate 'big-picture' entertainment value. One example of this would have been to include a 'hit' song, something memorable, a little more mainstream. However, being more familiar with the intricacies of the lyrics and score would undoubtedly enhance one's appreciation of this show, though, being in a 'on-first-hearing mode', the show's material certainly tempts you to explore it further, play the soundtrack, even see it again.

With the writers successful intent to make you laugh, cry and laugh again, this comedic and garish romp is stretched to its limits and has as much glitter in its presentation as it has substance so there is enough to counter-balance those who prefer a fun theatrical night out with a difference to something more gristly to chomp on (banana-splits all aside) and digest.

A show well worth a visit (ironically, without the kids!)

Brian Adamson

Photographer: Darren Thomas

Bananaland will play at Riverside Parramatta as part of the Sydney Festival from January 3 - 14, 2024.