Amongst the many threads which make up the concept of an Australian identity is the tough twine of Ned Kelly. Hero or criminal? Defender of the people or murderer? How much is fact, how much is myth? The “Robin Hood” of early white Australia, he represents that part of the Australian consciousness which shakes it fist at authority, which rebels against oppression. The perpetual underdog.
NED the Musical (book Anna Lyon & Marc McIntyre with music and lyrics by Adam Lyon) comes down decidedly in favour of the underdog. In a musical journey which felt, at times, like the Aussie version of Les Mis, our Ned ( a sort of Jean Valjean– oppressed by the police and impressively played by Joshua McElroy) – goes on the run and is hunted down by our own version of Javert – Alexander Fitzpatrick. Fitzpatrick is the weakness of the musical – the character seems ambivalent and without conviction, despite the efforts of David Hov who was in fine voice. There is just no leeway for Hov to create a meaningful antagonist.
The strength of this production show lies in the women and in particular, Jodie Harris’ Ellen Kelly. Fully in control of accent and fully engaged with character, she gave a necessary strength to the scenes, creating lovely moments which lifted the evening. Moments were enhanced by the lighting of Peter Rubie on a set (Matthew Hourigan) which made effective and efficient use of the space.
There are some very nice musical moments but difficult to name since the programme does not list them. Some of the musical compositions are sophisticated and handled very well by both chorus and orchestra – led by an energetic and committed Hamish Stening. Equally enthusiastic were the dance sequences, although some highly contemporary moves seemed to sit a little oddly at times in the context.
NED The Musical is brought to the stage by Plush Duck Productions, clearly committed to bring new Australian work to the stage. New work like this must be developed and indeed, is needed to offset the diet of old and re-purposed musicals from overseas. It speaks to us more directly as Australians, regardless of our origins and in the current political climate, offering a notion that political resistance to achieve societal change is more successful without toxic masculinity and illegal action.
Kate Stratford – On The Stage
