If you set your expectations at “good”, you’ll be in for a great night out with Jack Maggs by State Theatre Company of South Australia.
This reimagined telling of Peter Carey’s gritty and whimsical novel by playwright Samuel Adamson, hones in on the plight of our protagonists through a series of scenes bound together by supersonic doses of exposition.
The play focuses on Jack Maggs (Mark Saturno), a character based on Magwitch from Charles Dickens’ Great Expectations. Maggs returns to London from Australia in search of his ‘son’ Henry Phipps (Rachel Burke). The story explores themes of identity, colonialism, and the relationship between Australia and England in the 19th century.
And to set the scene for such an exploration, director, Geordie Brookman, and designer, Ailsa Paterson, have crafted a set (or sets) with plenty of layers and texture, almost like the elements are hanging together by a thread, such as they would have been in the era, especially in the new colony. In particular, the lighting (Nigel Levings) worked to bleach out vibrancy in costume colours, amplifying the sense of history, doom, and high stakes at the heart of the story.
Saturno brings gravitas to his portrayal of Maggs, expertly capturing Carey’s hallmark blend of reality and fancy; we believe him. James Smith, the shady, enigmatic character, Tobias Oates, equally exudes full Carey, charting his arc from dandy to dark arts, while Nathan O’Keefe brings wonderful counter balance with his Percy Buckle, the adoring fan of Mr Oates. O’Keefe is also a delight as Dr Grieves and it should be noted most actors play multiple roles, so strap in and keep following the actors, shadow puppets and swirling set elements to keep up. Most notably, of course, Rachel Burke brings great relief when eventually appearing as the much sought after Phipps.
Part of the challenge with this style of storytelling in which Sweeney Todd meets Midsummer Night’s Dream, is that Ahunim Abebe in her Puck-like role of Mercy Larkin, must rattle through novel-length passages of exposition at pace, to ensure staff don’t go into overtime and penalty rates. This, coupled with the frenzied projection (verging on yelling) as cast blurt out that lightning fast dialogue during exposition, makes this a demanding story to keep up with. Alas, as a Carey fan who loved this story, even I was deposited by the wayside in some confusion towards the end, such is the complexity and frenzy.
But, and it’s an important one, in those moments when Brookman places a calming hand on the work and we slow down for crucial scenes of “real time” interaction, everything becomes sublime; we become immersed in a delightful, shadowy, moody, tempting world of Dickensian delight.
Perhaps it is wise, when setting one’s expectations for this production, as alluded to, above, to take the director’s insight to heart and to come prepared to enter a world of joy, silliness, heart, and endless possibility. And if, by the end, the shadows have offended, grab the novel and prepare for a joyous summer with characters freshly-embodied by this colourful cast.
Jack Maggs, State Theatre Company, Dunstan Playhouse, November 15-30, 2024.