Watershed: The Death of Dr Duncan
Watershed is a magnificent piece of theatre in every way! Commemorating 50 years since the famous murder and drowning of Dr. George Ian Ogilvie Duncan in Adelaide on May 10th 1972 and co-commissioned by Feast Festival, Adelaide Festival and State Opera South Australia, supported by Arts South Australia, this production is landmark production that deserves to tour Australia!
Joe Twist, well known for creating the music to the animated series Bluey, has created a hauntingly beautiful score that is a times melodically lyrical and at other times stirring and jarring to perfectly match the libretto, co-written by Alana Valentine & Christos Tsiolkas. The libretto encapsulates the original crime and the everts that have followed, which have shaped the decriminalisation of homosexuality initially in SA, but with ramifications that followed across Australia and the world.
In a simple yet stylish and functional set designed by Ailsa Paterson and sensitively lit by Nigel Levings - consisting of a raised acting area, a projection back wall designed and operated by Sean Bacon, and a ‘river’ across the front of the stage used by the lost boy and the dancer to accentuate the action - Neil Armfield works his magic, turning the oratorio style performance into a confronting yet strangely beautiful piece of theatre.
The Chamber Singers are omnipresent as are the singers portraying Dr Duncan, Don Dunstan and Mick O’Shea, the lost boy and the dancer. Thanks to Armfield’s skilled direction the sung sections and the narration sections are adroitly blended and even when not performing, the singers are in focus at all times reacting to the action.
Conductor/Musical Director Christie Anderson has brought together a select orchestra of just over ten players who bring Twist’s atmospheric score to life. They are in perfect synch with the performers, only dominating when the action requires. Her vocalists sing with passion and are matched by the exquisite harmonies of the Adelaide Chamber Singers.
This production is blessed to have such strong soloists, who not only excel in their vocal performances but are also accomplished actors.
Pelham Andrews’ Mick O'Shea, Cop and Lawyer are all carefully drawn characters. I gravitated to the world weary, beaten Mick O’Shea, the whistle-blower. Body cowered, barely able to look anyone in the face, but still hopeful, this is an impressive character. Also, his song with the men’s ensemble concerning ‘poofter bashing’ is very powerful.
Ainsley Melham as the lost boy is a brooding presence on stage. He is a narrator of sorts but also Duncan’s lover in his scenes with dancer Mason Kelly. His performance is riveting, as is his singing voice. The scene near the end of the oratorio, with Duncan in his arms and then having to let him go, is compelling.
Mark Oates (well known to Adelaide theatre circles) gives the performance of his life in the dual roles of Dr Duncan and Don Dunstan. His denial of homosexuality with essentially one sentence repeated over and over is masterful, as is his portrayal of the courageous and hopeful Don Dunstan. In a grey suit and tie, his face seems to drain of colour at the times when his character is under pressure, fascinating to watch.
Mason Kelly is the other half of Oates’ Dr Duncan character. Initially descending from the top of the stage on a cable he turns aerial work into an art form. It is a performance of control and measured pace. He is choreographed by Lewis Major, who ensures his aerial work is seamlessly merged with his on-floor work.
The Adelaide Chamber Singers prove once again that they are the masters of this vocal form. Working as one or as separate characters they blend into the side of the stage or command when on the stage area.
Tim Reeves, the historical consultant, deserves a special mention for his research and presenting the unbiassed facts and fallacies concerning this important period of history.
Watershed is raw, gutsy, emotional and always engrossing. The immediate standing ovation is proof of the talent involved and the message it brings to today’s society!
Barry Hill
Photographer: Andrew Beveridge
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