The Legend of Ned Kelly
It's terribly frustrating to witness a show begin so promisingly, and to aim so high, only to fall so disappointingly short.
The exploits of the Kelly Gang are virtually second-to-none in terms of genuine historical - yet mythic - figures to emerge from - and endure throughout - Australia's history. There will presumably always be tremendous appeal to the idea of staging a re-telling of the tale, and probably always an audience interested in paying to see one.
There are strong, successful elements in Upstage's dramatic/musical presentation. Songs (by MD Tony Strutton and lyricist Sue Oldknow) are plentiful, and some of them are very good indeed, while the balance of music and dialogue is well-judged. The painted backdrop (by Kim McDaid) could perhaps have been better positioned but looks very nice in and of itself, while the prop weapons used by the gang and the police manage to look most convincing, as does the iconic armour; bravo to Brady and Ray Gambling on both fronts.
Deirdre Quinn and Sue Oldknow exhibit an impressive combination of comfort and exuberance in their vocal and dramatic performances, while Kirsty Battersby has a particularly convincing stage presence. The contributions of the tale's narrator are generally good. Chorus/ensemble vocals are absolutely outstanding; warm, rounded, and clearly well-rehearsed. The climactic imagery of the show is made memorable by Mon Cochrane's superbly evocative lighting.
Unfortunately, the ambitions of this group ultimately exceed the grasp they demonstrate in bringing this story to the stage - or perhaps, this particular stage. The Irish Club may be culturally appropriate for a Ned Kelly show, but its performance area does not appear conducive to a multi-character historical saga complete with occasional dance numbers (though it must be said that one particular dance shrewdly utilises both the stage and the floor at once, and is a definite highlight).
The relatively small space available makes the objective of achieving effective staging into an uphill battle indeed. Particularly in scenes with numerous characters attempting to share the same area at once, a seeming lack of sharpness in blocking manages to curtail dramatic effectiveness, often at moments when it ought to be peaking.
The use of full-height microphones standing on stage is a technique familiar from past Upstage shows, but here it seems to limit the potential of certain scenes, by freezing performers to a single spot. Despite this, some vocal solo moments are not adequately projected to compete against the musical accompaniment, even with the microphones assisting. Occasional hand-held mic use is particularly problematic; it just looks plain wrong for the character of Ned to be seen holding one.
The attempts at comic and/or romantic interludes are not particularly successful; saddled with a series of clanging 'laugh lines', a couple of buffoonish and pompous law enforcement officers are about as welcome here as the comedic cops in Last House on the Left. A noticeable lack of confidence in vocal delivery also hobbles the potentially sweet/cute song Courting Pretty Kate.
There are musical low-points (specifically In a New Land) where nothing - vocals, arrangement, melody - seems to hit the spot, or where the expected emotional power fails to come across (For the Love of You). At times, the live electronic percussion is effective and fairly well-utilised; at other points, the drums can feel intrusive and unnecessary.
Irish accents are strong on some actors' tongues, completely absent from others, which does nothing to further a sense of general credibility or true family connection between the Kellys. As Ned himself, Paul McLean has the physical presence to be convincing, but somehow, the mythic dimensions just don't materialise to the extent that they should. Exactly why Ned became what he did, both before his death and after, is a compelling question that this show can barely grasp at.
It seems possible that a completely re-thought approach to this rich material could have delivered a fully satisfying show in this particular performing space. Perhaps Upstage could have had a winner on their hands with the show as is, if only the location were more accommodating. As the performance wound up with a rousing ensemble finale to match its arresting opening, it was impossible not to wonder what might have been.
Anthony Vawser
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