Mark’s Score: 4.5 stars
It is 1974 and martial law in The Philippines is well ensconced under Ferdinand Marcos, it having been mockingly “ratified’ the year before via a pseudo referendum. Suspiciously over 90% of local assemblies, allegedly representing the people, voted in support of Marcos, thereby allowing him to continue his kleptocracy for another dozen years. With high unemployment in the country there is the chance for certain citizens to train overseas. This is the social and political background to Kasama Kita (Tagalog for “I’m with you”) that brings Nancy, Antero and Cory to Sydney. They arrive full of wonder and curiosity as they are to train as nurses in a land not known for its welcoming of immigrants.
Jordan Shea‘s new Australian play Kasama Kita, originally developed as part of the Q-Lab Artist in Residence program, and further at Q Theatre, sheds light on one of so many immigration stories that need to be included in our theatre, TV and film culture, as well as in schools programs and contemporary history events. View here the inspiration for the play: https://www.sbs.com.au/news/stories-of-migrant-nurses-who-helped-build-australia-s-health-system-finally-told
Played over a 45-year period in two acts the play is expertly structured and the piece is excellently paced in its writing and by director Erin Taylor (Assistant Director Mark Paguio). Once settling in their accommodation after hilarious “first encounters” with the locals good girl Nancy (Monica Sayers), her younger and troubled gay brother Antero (Kenneth Moraleda) plus their loose canon friend Cory (Teresa Tate Britten), take up positions at Balmain Hospital. Here they suffer the long hours, the miscommunication and blatant (and subtle) racism under the begrudging tutelage of hospital staff and suspicious eyes of patients, epitomised in the character of the Matron (Jude Gibson). However relations also break down among the three students as, contrary to the others, Nancy focuses on getting good references for when she returns to The Philippines all the while sending most of her money home. The rising dilemma is that Cory and Antero wish to stay in Australia but are less enamoured with nursing, the basis for their student visas. Nancy meanwhile is tempted by promotion and future opportunities. Act One races along as we witness the flowering of the protagonists’ true personalities in many touching and highly amusing scenes, peppered with an array of masterly wrought characterisations by Kip Chapman. An inspired choice is to ask the audience to leave the auditorium at interval. This generally means that some amazing design reveal awaits us on our return. No. None of it! What is created is a strong sense of four decades having passed as Act Two kicks in. Cultural references tell us immediately where we are at. The world has changed, Nancy is transformed and the bitter-sweet lives of her estranged brother and erstwhile friend are exposed.
On the tiny downstairs stage Producer Emma Diaz can be very proud of how this tale is rendered. Minimalist staging means that Production Designer Emma White has concentrated on costuming the show most appropriately, Kelsey Lee’s Lighting is sharp and Clare Hennessy’s Sound Design conjures the period astutely. Stage Manager Adrienne Patterson keeps it all together as well as deftly operating lights and sound.
I cannot recommend this play more. All its elements are perfectly merged. As all good theatre does, this tale of otherness never alienates and gives those with open minds the chance to identify with the loss, regret, separation and reinvention we all might (and must) go through.
Mark G Nagle – Theatre Now
Kasama Kita
Jordan Shea
20 Nov – 7 Dec 2019
Preview
Wed 20th & Thu 21st 7:45pm
Opening (Invitation Only) Fri 22nd
Tue/Wed 6:45pm
Thur – Sat 7:45pm
Sun 5:15pm
Venue: Belvoir Theatre: Downstairs
Theatre Company: Belvoir 25A
Duration: N/A
It is 1974, and a political uprising that has compromised the safety of millions in the Philippines, brings Nancy, Antero and Cory to Balmain, Sydney. They are to train as nurses under the watchful eye of a jaded Matron, who echoes the sentiments of a harsh and unwelcoming Australia.
45 years later, the now estranged trio must reconnect under grave circumstances. This is an untold story of first generation immigrants that have shaped the Australia we know today.
A new work by Jordan Shea, originally developed as part of the Q-Lab Artist in Residence program, and further at Q Theatre.
Presented in association with Aya Productions
Writer Jordan Shea
Director Erin Taylor
Producer Emma Diaz
Ticket Prices
All tickets to 25A productions are $25.
Preview tickets are $20.
