Boy Swallows Universe

OK, I'm going to just come right out and say it – I prefer the psychedelic and chaotic world of Trent Dalton's Boy Swallows Universe spilled out in full colour on the stage, rather than in my head while reading the novel. Phew! Now, as the novel's many fans will know, if it wasn't clear that this story was based on Dalton's own life experience, you'd never believe the twists and turns of his darkly funny tale. It's part Boy's Own coming-of-age saga, part true crime, part Sunday tabloid sensationalist suburban horror story. But what has captured readers' hearts is the unconditional love at the core of the Bell family, and the brotherly bond between Eli and August Bell. Despite being surrounded by a cast of criminals, layabouts and oddballs, Eli and August don't judge. But they do overcome their traumatic childhood by drifting into dreams. This is where the stage adaptation truly shines.

As well as accurately capturing the spirit of Dalton's novel, the production's chief success is in showcasing the collaboration involved in bringing this play to the stage after more than a year's nervous wait through the global pandemic. Playwright Tim McGarry and director Sam Strong worked on the script (with involvement from Dalton) for three years. McGarry has achieved no mean feat in honing this saga to a succinct play. And Strong must feel like a conductor, assembling a hand-picked team of craftspeople to make this story sing, welcoming some of our best character performers back to the stage, with ensemble players of the calibre of Anthony Phelan, Andrew Buchanan and Joss McWilliam joining performers making their QT stage debuts: Ashlee Lollback, Hsin-Ju Ely, Charles Ball, Anthony Gooley (whose empathetic Lyle is a pivotal portrayal) and Ngoc Phan, who treats us to her strong interpretation of suburban underworld and Karaoke Queen, Bich Dang. 

This is a true ensemble piece, but it has to be said that, as central character, Eli Bell, Joe Klocek is on stage for the whole play – pressure equivalent to Shakespeare's Richard III – and he delivers on all fronts, capturing all facets of Eli's innocence, humour, frustrations, aspirations, heart and soul. There are strong scenes with Tom Yaxley (as a steady and wise August) and Anthony Phelan (a superbly philosophical Slim Halliday contrasting with evil Tytus Broz). I wish that other strong supporting characters like Eli's parents, Frankie and Robert (Michala Banas and Mathew Cooper), and Darren Dang (Hoa Xuande, a comic standout in the fan-favourite role) were given more rounded treatment and extra stage time. Some of the key trauma for the Bell family feels unresolved. And yet, there are some events where more dramatic licence could have prevailed to keep the story's central plates spinning evenly while whisking away some remaining excess. This is a long show at just under three hours (although, the pace is sure to pick up). As a litmus test for restless viewers, my guest had not read the book and does not like sitting for long, yet they were engaged right through to the end – enthralled by the brilliant cast, colourful characters, and the story's local settings. 

The 1980s backdrop was immediate with an excellent soundtrack from the era, with some unexpected and canny choices by composer and sound designer, Steve Francis, such as 'Neverending Story' (Limahl) and 'Heart of Glass' (Blondie), to evoke the era and the play's emotional resonance. His original music is cinematic and adds tension and tenderness that is crucial to the story. Designer Renée Mulder's costumes are 80's classic pieces, Stubbie Scoops and singlets aplenty, tracky dacks and ruched metallic cocktail dresses. Her set is a blank concrete block that allows Craig Wilkinson's videography to let us travel across the play's multiple settings (Darra, Bracken Ridge, to Boggo Road Jail, to the Clocktower at Brisbane's City Hall) and – its real jewel – the story's dreamscapes. I loved the projected writing and the inkblot blurs of Eli's mind, memories and suburban starry skies.

An unexpected treat was the movement work by choreographer/performer Nerida Matthaei (movement director) and Nigel Poulton (fight and intimacy director) who bring animation, humour and poetic emotion to some scenes that could have been very dark indeed. The novel's dreamlike sequences would not be as effective without this work, or the encompassing palette of lighting designer Ben Hughes, who literally illustrates the story's light and shade.

The energetic and outstanding cast and crew were thanked by the opening night audience with a lengthy curtail call and standing ovation – which must extend to stage manager, John Reid, and his backstage team who deserve a special mention for successfully seeing this complex play through without a hitch – even ensuring that an awkward samurai sword snafu was seamlessly handled with aplomb (helped by some savvy young actors!)

Boy Swallows Universe plays until 3 October at QPAC's Playhouse. Its world premiere opened this year's Brisbane Festival and the vibe in the air at a busy QPAC was thankful, anxious, excited and overwhelming joy at seeing this production finally come to fruition. I also hope that the success of this adaptation will be a turning point for seeing more local Queensland stories on stage.

Find out more about the collaborative effort of bringing Boy Swallows Universe to the stage in our feature with interviews with the creative team behind this production in the next edition of Stage Whispers magazine. Watch your nearest news stand for the September issue!

Beth Keehn

Photographer: David Kelly