A Heartwarming Journey of Resilience and Hope

Driftwood The Musical takes us on an emotive and profound journey of 6 characters, immersed in the shadows of the Holocaust. Inspired by Eva de Jong-Duldig’s memoir “Driftwood – Escape and Survival through Art,” this theatre production by Tania de Jong AM weaves a captivating narrative centred around the extraordinary life of her grandmother, Slawa Horowitz-Duldig. It is a story of unwavering resilience, love, and determination, as displaced families float away like driftwood, from one country to another, fighting against the relentless challenges to stay together.

Slawa, (Tania de Jong AM) a talented artist lives with her husband, a sculptor Karl (Anton Berezin) and daughter Eva, (Bridget Costello). The story unfolds as Eva opens a gift from her father, a box of cherished memories – containing documents, letters and photographs, on her 18th birthday. Eva serves as a narrator sparking a quest for answers about her family’s history. The timelines seamlessly intertwine, transporting us between 1950s Australia and 1930s Austria, where Eva’s parents, navigate a life filled with art, love, and the shadows of impending darkness.

In 1938, Eva’s parents, the gifted artists, Karl and Slawa, basked in the joys of their creative pursuits in the vibrant city of Vienna. Their lives are enriched by the close bonds they share with Slawa’s sister, an actress, Rella, (Michaela Burger) and Karl’s brother, Ignaz. (Nelson Gardner). Amidst the blossoming of their talents, Slawa’s invention of the folding umbrella becomes a cause for celebration and excitement.

However, as the dark clouds of Nazi oppression loom over Europe, Karl seeks solace in Switzerland through his passion for tennis, hoping to escape. The family’s fate takes an unexpected turn as they are forced to flee to the distant shores of Singapore and eventually a camp in Victoria, separated from the world they once knew. The performances in Driftwood are nothing short of exceptional. The talented cast brings these complex and relatable characters to life with depth and authenticity. Bridget Costello’s portrayal of Eva is endearing, capturing the character’s growth and transformation with grace and emotional nuance. Anton Berezin delivers a captivating performance as Karl Duldig, conveying both the vulnerability and the unwavering determination of his character.

Tania de Jong AM’s portrayal of her grandmother – Slawa Horowitz-Duldig is deeply moving, showcasing her remarkable vocal talent and heartfelt connection to the character. Michaela Burger shines as Rella, displaying a profound emotional depth and radiating warmth that lights up the stage. Nelson Gardner’s versatility in multiple roles is awe-inspiring, thus showcasing his immense talent and ability to seamlessly transform into different characters. The entire ensemble shines with their passionate performances, creating a harmonious and emotionally charged experience.

Under the masterful direction of Gary Abrahams, Driftwood unfolds with seamless precision, striking a delicate balance of joy and heartache. The enchanting music, composed by Anthony Barnhill, provides a rich and emotional backdrop to the story. The set design by Jacob Battista is evocative and versatile, transporting us to different times and places with ease. The use of projections on a large screen, shaped like a torn paper, adds a visual dimension, immersing the audience in the historical context of the story.

Driftwood the Musical is more than just a show; it is a powerful and poignant journey that lingers long after the final applause. It reminds us of the invincible human spirit, the importance of preserving our stories, and the resilience that can be found in the darkest of times. This production is a testament to the transformative power of theatre and the enduring impact of a well-crafted and deeply emotive story.

Whether you’re a fan of musical theatre or simply seeking an unforgettable and thought-provoking experience, Driftwood is a must-see production that will leave you moved, inspired and filled with renewed hope, as you hold a melody in your heart.

Driftwood The Musical is playing in Prahran at the Chapel Off Chapel till 20th May, followed by seasons in Sydney.

For more information visit https://driftwoodthemusical.com.au/

This review also appears in On The House

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Not Finished With You Yet – Review

Not Finished With You Yet is an energetic romp through a world where governments have passed a mandatory divorce law meaning all marriages must end after 13 years. Written and Composed by Dick Gross AM, the world premiere of this new Australian musical plays at The Alex Theatre in St Kilda as part of the Melbourne International Comedy Festival.

Two hours of upbeat entertainment unfolds as the characters explore what it means for their marriages, and how to navigate the new territory the law presents them with. Most couples willingly embrace the law with overt enthusiasm and a hefty dollop of marital passive aggressiveness. While main characters Kate and Rupert march resolutely, but resentfully, towards a future that demands they separate at the cost of their love.

All this is explored and celebrated through a hefty amount of choreography and over a dozen original songs.

Upon walking into the theatre you are struck by the incredibly imaginative and engaging set design. Very few, myself included, are immune to not snapping a quick picture before they take their seats. Once the show starts the set comes alive as it morphs and transforms.

Hidden compartments subtly swallow costume changes, panels swing centre stage that only moments before were seemingly solid. Accordion panels become walls, doors, rooms and more. The stage itself is a supporting character that allows the audience to engage in the story unfolding. It is marvellously done.

Deft use of multimedia and imagery project onto the stage in specific and intelligently blocked patterns. It captures the audience’s curiosity and is seamless in its execution.

The characters are specific and the actors play them valiantly. Costume design is subtle, but nails its task as each character is embodied in the quirks of a french tucked top, the slink of a sexy fabric across the body or the effervescence of an outfit of a stressed-out teen. We know who the characters are, and what they value, by what they wear. The specificity that went into costume design shows high attention to detail, it is very much appreciated.

The story is easy to follow, with only a few lingering questions left unanswered. It does take suspending disbelief to enjoy this world, but as with most musicals, it’s worth it.

The performers are obviously operating at a high level in their craft and most have a definitive moment to shine in the show. Whether it’s Alexia Brinsley as Kate’s single sister Maria navigating each scene with commitment and aplomb, or Cristina D’Agostino as Betty seemingly, effortlessly, channelling Liza Minnelli in the ‘Hit the Bottle’ number – you won’t be disappointed. The women in this show Deliver with a capital ‘D’.

While whimsical in moments, Not Finished With You Yet is not for those with delicate sensibilities. The F-bomb is dropped at a rate Gordon Ramsey would be proud of. The show crams in various subject matter, from the suggested amount of lubricant for great sex for those in menopause, strap-ons, wombs for rent, drunken sex and quite literal toilet humour – not too much is left unexplored.

Memorable flashbacks from the show include the fun and frisky ‘Urinal Lamentation’ song as performed by Matthew Hamilton, Matt Heyward and Alec Gilbert, a grounded and believable performance by Lauren Gunson as 15-year-old daughter Ella, and a beautifully moving Shakespeare’s Sonnet 116 that delicately displays the cast’s harmonies.

Not Finished With You Yet is obvious in its Australian-isms, and an enjoyable frisky afternoon or evening at the theatre.

This review also appears in On The House

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