Review: Brisbane at Ad Astra

Review by Grace Swadling

"We all want back what is lost." 

Written by Australian playwright Matthew Ryan and directed by Fiona Kennedy, this haunting sentiment anchors the story of ‘Brisbane’, an authentic Australian production that captures a city at a crossroads. In a time where night clubs and American jazz collided with the grim realities of World War Two, the production serves as both a vibrant celebration of lost childhood and a poignant snapshot of a time when the world - and a young boy's life - was changed forever. 

First staged in 2015 at QPAC, ‘Brisbane’ now finds a new home at the Ad Astra Theatre. ‘Brisbane’ tells the story of Australia in 1942, when the sleepy streets of Brisbane were shaken awake by the arrival of General Douglas MacArthur and the American Armed Forces. For fourteen-year-old Danny Fisher, this is the backdrop to his own coming-of-age, amidst the chaos of military riots, grief, and the looming threat in the Pacific. This production deftly balances the energy of a city transformed by war with the quiet, beating heart of a family trying to stay together as their world expands and contracts all at once.

As soon as audiences stepped foot in Ad Astra’s open courtyard, ambient 1940s music filled the air and Lindy Hop dancers cut a rug in front of the waiting audience, which contributed to the exciting opening night buzz. Costume team Georgina Purdie & Stacie Hobbs successfully created the look and feel of 1940s Australia, as well as period-accurate American and Australian uniforms. This was used in tandem with Geoff Squires’ effective lighting design, which helped shift the action from different states and emotions; from dark air-landing fields, to sensual night clubs, to the warmth of the sun in Brisbane’s sky. Stacie Hobbs’ set design made excellent use of the space and presented a deconstructed ‘Queenslander’ house, complete with a washing line in the back and a tree growing in the middle.The set design created levels and space for the actors to play in and the tree served as a marker of time passing as well as the emotional state of the characters.

Bailey Sprecak had a mammoth role in bringing the audience along for the journey as the story’s narrator Danny Fisher. He handled the epic narratorial style of ‘Brisbane’ deftly, navigating between wide-eyed innocence and deep grief. Although he kept the energy up throughout most of the play, Sprecak was able to drop in to the more emotional moments when required, giving the audience a reprieve from the relentless mindset of a 14 year old boy and allowing Danny’s deep inner turmoil to come through.

Liam McMahon was a highlight of the night as the charismatic and charming older brother Frank…and the charismatic and charming American pilot Andy. Frank and Andy are almost two-sides of the same coin; young, handsome men who had dreams and aspirations of glory  - but only one of them makes it home. McMahon played this distinction between them beautifully and his chemistry with Sprecak made their relationship utterly believable.

Aimee Duroux’s comedic timing was excellent as Patty, Danny’s brash and bossy best friend and Hannah Sisson played Rose, a woman poised on the brink of a world that is just starting to open up to her, with nuance and sweetness. Brent Dunner and Lisa Hickey did an incredible job of inhabiting both joy and grief in a way that felt very indicative of older Australian generations. Dunner’s gruff, ex-military father would resonate with many audience members and his eventual reconciliation with Danny was lovely to watch. Hickey gave a compelling portrayal of devastating grief and completely captivated the audience whenever she was on stage. Deep familial love rests at the epicentre of ‘Brisbane’ and watching both of Danny’s parents experience their worst nightmare come to life was deeply moving.

Kennedy’s strong use of the ensemble meant that Mike Escober, Jack Winrow, Natasha McDonald, & Jay Koloi, could have fun with a variety of characters including historical figures, rowdy boys and randy soldiers. Despite the heavier elements of the context of the play, classic Aussie larrikin humor also shone through and Kennedy’s direction really made use of interesting theatrical elements such as breaking of the fourth wall, actors coming in to the audience and many cheeky asides. Much of the humour also landed in the contemporary audience butting up against the older cultural references and being able to see through the ridiculous propaganda of the time.

However this did mean that there were elements of confronting language and an exploration of the darker consequences of war on future generations. The timing of this production also feels alarmingly relevant. This production brings the terrifying images and rhetoric we are increasingly seeing on our screens and in our media to a distinctly specific cultural touch-point. It shines a light on a history of Brisbane that some might be unaware of and brings the idea of war to the homefront in a way that feels almost a little too close for comfort.

However, if theatre is a way in which we can look inward and confront the harsh truth of our human nature, it is also a way to amplify the good in humanity, and to challenge us to pave a new way forward. The play draws on true stories from wartime Brisbane, and Ryan injects both pathos and comedy into this heartfelt tragedy in a way that feels uniquely Australian. ‘Brisbane’ really does feel like a love letter to the playwright’s hometown and the recognisable characters that inhabit it. Indeed, Matthew Ryan was in attendance at the opening alongside his family members and some familiar faces, including some of the crew members of the original 2015 production. It is a testament to the passion of the entire crew and cast who have worked to bring ‘Brisbane’ back to life in front of brand new audiences and an example of the powerful cultural connection and resonance achieved when Australian people and experiences are celebrated on stage.

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