Looking for Alibrandi

The adaptation of this classic Australian coming of age tale allows this version to resonate not only with an Italian-Australian community but anyone whose heritage is outside the white Anglo-Saxon (now somewhat anachronistic) norm. The production remains faithful to the novel and the film versions, keeping all the familiar main characters. However, there are some subtle and significant differences that give this version a very individual quality. The Italian-Australian culture remains at the heart of this story but the diversity in the casting is a clear acknowledgement of the way this production aims to address racism and otherness with a more universal approach. 

This photo by Tamarah Scott. All other images by Jeff Busby.

The culture clash that Josie experiences as an Italian-Australian becomes even more emblematic of Australian identity. The Italian passata making ritual is used as the entire backdrop for the story facilitating some darker more sombre moments of the story. Details such as the Nonna spy and gossip network are preserved with an even greater emphasis on deliberate parody. In fact, all the Italian-Australian stereotypes are emphasised through an obvious artifice made visible both via the costuming and the performances. This proves to be quite ingenious in terms of pointing out the superficiality and absurdity of such representations. This also generates some great, good-natured humour throughout the show.

Another ingenious stroke in this play is the doubling up of some roles. Although this looks like a pragmatic approach to casting it has extraordinary value in the way it points to some important connections between the characters and their relationship to Josie (Chanella Macri). Jennifer Vuletic as Nonna Katia and Sister Louise captures the wisdom of both characters, and the ambivalent relationship Josie has towards their authority. Hannah Monson as Ivy and John Barton draws some very interesting parallels between these two characters and the emotional impact they have on Josie. The contrasting and conflicting nature of the positions these characters hold in Josie’s life becomes incredibly evident via the casting and the clever way it is managed by the performers.

Lucia Mastrantone as both Christina and Sera is an absolute treat. The astuteness and insight of her performance and the incredible transition she makes from one character to the other is a sheer delight to watch. This also highlights the unique friendship in the mother-daughter relationship. The level of parody is often ramped up for Sera and toned down for Christina and this produces some wildly comical moments. It also really showcases Mastrantone’s talent. All the performers exhibit an acute awareness of both the culturally specific and universal aspects of this story and embrace the Italian-Australian elements with intense warmth and simpatico.

Macri provides an absolutely stellar performance as Josie and she strikes a great balance between strength and vulnerability. She is portrayed as very conflicted yet also very determined and this is beautifully written over every facial expression, intonation, and gesture she makes. This is a production that captures the very Australian nature of this story and uses some very simple yet effective strategies to make it an incredibly accessible and truly meaningful theatrical experience.

Patricia Di Risio 

Photographer: Jeff Busby, except where otherwise indicated.