My Brilliant Career Musical Makes Triumphant Return to Australian Stages
The celebrated musical adaptation of Stella Miles Franklin's iconic 1901 novel My Brilliant Career has returned to the stage, embarking on a national tour that promises to captivate audiences across Australia. Following its universally acclaimed premiere in Melbourne last year, this feminist theatrical production is now set to grace theatres in Sydney, Canberra, and Wollongong, bringing its powerful message and innovative staging to wider audiences.
Kala Gare Embraces the Fearless Spirit of Sybylla Melvyn
At the heart of this production stands Kala Gare, who delivers a performance of astonishing range and power as the headstrong protagonist Sybylla Melvyn. Gare, whose portrayal has become defining in her career, speaks candidly about the demands of performing such a challenging role eight times weekly. "Sybylla's so fearless. Playing that eight times a week, it does seep into the soul," Gare reveals, acknowledging how the character's courage has influenced her own approach to performance and life.
The actor describes the careful balance required when inhabiting such a demanding role, noting that "the life outside the role is quite minimal" during performance seasons. However, with this return engagement, Gare expresses hope for creating more personal space while maintaining the intensity the character demands. Her preparation reflects the central theme of both novel and musical: the struggle for self-determination within constraining circumstances.
Innovative Actor-Musician Ensemble Creates Unique Theatrical Experience
What sets this production apart is its innovative approach to musical performance. The cast comprises ten actor-musicians who perform Matthew Frank's eclectic score live on stage, with instruments sometimes strapped to their bodies as they move through Marg Horwell's evocative wheatbelt set. Musical director Victoria Falconer, who has become a leading expert in actor-musician productions after working on Once, explains the extraordinary demands this places on performers.
"There is a very specific kind of human that can do it," Falconer observes. "There are songs where someone is singing with one type of phrasing, playing an entirely different type of phrasing on their instrument and then dancing, so their feet are doing something different again!" The result, she notes, is a remarkable synthesis of sound and drama that creates "a sense of communal force" rarely achieved in traditional theatre.
Creative Collaboration Brings Feminist Classic to Contemporary Audiences
Director Anne-Louise Sarks, who collaborated with composer Matthew Frank, writer Dean Bryant, and playwright Sheridan Harbridge to develop this adaptation, recognized the production's special potential from its earliest stages. "I remember saying to the team, 'The way you tell this story, the energy in this space, the generosity of it – if we can capture that in a theatre, then something very special is happening'," Sarks recalls.
The creative team has deliberately cultivated what Sarks describes as "a kinetic energy" that begins from the moment audiences enter the theatre space. This energy stems partly from the production's development process, which Sarks characterizes as "very playful and organic, and sometimes a little bit mad." The director believes this creative spirit translates directly to the audience experience.
Complex Feminism and National Relevance
While Miles Franklin's novel has long been celebrated for its feminist themes, this adaptation explores deeper complexities within the work. Gare observes that her character evolves from "a very black-and-white view of the world at the beginning to a realisation that everyone else's story has value, that everyone is just as complicated as she is." This maturation involves not just self-actualization but also humility and self-sacrifice.
Sarks embraces this nuanced approach to feminism, stating her preference for feminism that is "complex and difficult, actually. To be questioning itself as it's unfolding." The director suggests that true feminist success lies in "a deeper recognition of the humanity in each other," a theme that resonates powerfully in today's social landscape.
The production also carries contemporary national relevance that Franklin might not have anticipated. Sarks identifies in Sybylla's journey "a gift, but in service to something bigger than herself" – a recognition of responsibility alongside freedom that speaks to current Australian conversations about community and national identity.
Enhanced Production Support and National Tour Schedule
For this return season, the production has strengthened its support systems, more fully integrating understudies and swings into the company structure. Gare welcomes this development, noting that "It gives us a level of support that's really comforting." She particularly praises understudy Mel Bird, who plays various roles while also preparing to perform Sybylla when needed.
The national tour represents a significant moment for Australian musical theatre, bringing a homegrown adaptation of a literary classic to multiple states. Following its current Melbourne season at MTC's Southbank Theatre until 23 February, the production will travel to Canberra Theatre (7-15 March), Sydney Theatre Company's Roslyn Packer Theatre (21 March – 26 April), and Illawarra Performing Arts Centre in Wollongong (8-17 May).
As audiences across Australia experience this vibrant, musically innovative production, they'll encounter not just a faithful adaptation of a beloved novel, but a contemporary theatrical experience that speaks directly to current conversations about gender, freedom, and national identity. The production stands as testament to the enduring power of Franklin's creation and the innovative spirit of Australian theatre.
