Bold, empowering, and bursting with excitement—My Brilliant Career, the musical adaptation of Miles Franklin’s renowned novel, is making its triumphant return to the stage. When reflecting on this revival season with the Melbourne Theatre Company, Kala Gare, who has taken on the pivotal role, acknowledges that being well-prepared is crucial.
"Having a clear understanding of what lies ahead has been incredibly beneficial," shares Gare, who is also a talented singer and actor. "Life outside of performing can be quite limited; you often find yourself using your single day off to recuperate and gear up for the next show. However, this time around, I’m determined to create a bit more personal space for myself."
This desire for balance resonates deeply with the overarching themes presented in both the novel and the stage adaptation. Last year, when the musical premiered in Melbourne, it garnered widespread acclaim, and now it’s back in the city before embarking on a tour that includes Sydney, Canberra, and Wollongong. Gare portrays Sybylla Melvyn, the fiercely independent eldest daughter of a troubled family, previously immortalized by Judy Davis in Gillian Armstrong’s 1979 movie. Gare delivers a performance filled with remarkable depth and intensity, embodying a character who refuses to be limited by her environment. Although Gare emphasizes the ensemble aspect of the production, there's no denying that she shines as a lead star.
"I was given significant creative freedom during the development of this role," Gare recalls. "There was a moment when our director, Anne-Louise Sarks, asked if I wanted to include a cartwheel, and I enthusiastically agreed. Now, you’ll see that cartwheel featured in the show!"
In addition to the impressive cast, which includes understudies and versatile performers who take on multiple roles, this iteration of the production has taken a more integrated approach.
"The presence of understudies offers us a reassuring layer of support," Gare explains. "Each performer brings their individual essence to the character. For instance, Mel Bird, who plays various roles and also covers for me, is simply outstanding. I have no doubt she will be a phenomenal Sybylla herself."
Casting the right group of ten actor-musicians, who perform the score live—sometimes while playing instruments strapped to their bodies—was primarily the responsibility of musical director Victoria Falconer. With her experience from the actor/musician-led musical Once, Falconer has become a leading authority in this unique theatrical style.
"There’s a very particular type of talent needed for this kind of performance," Falconer explains. "Imagine someone singing in one phrasing style while playing a completely different rhythm on their instrument, all the while dancing. It creates a fascinating complexity!"
While this may sound daunting, it results in a harmonious soundscape and a dramatic synergy rarely achieved in conventional plays, fostering a strong sense of collective energy. "Witnessing individuals operate at the peak of their creativity is truly impressive," Falconer adds. "When actor-musician productions succeed, they can be simply breathtaking."
The score, crafted by composer Matthew Frank in collaboration with playwright Sheridan Harbridge and director Dean Bryant, features a diverse range of styles—from pub rock and bush folk to traditional musical theatre ballads. Full of syncopation and lively rhythmic elements, it is designed to be both engaging and manageable, allowing performers to move freely while portraying nuanced characters.
Sarks, who, along with Gare and Falconer, contributed early insights that shaped the project into a vibrant creation, believed in its potential from the outset. "I distinctly remember telling the team, ‘If we can harness the energy and generosity of this story in a theatrical setting, we’ll create something truly special,’" she reflects.
The dynamic energy created on stage becomes palpable the moment the audience enters the venue, spurred on by the band coming alive within Marg Horwell’s stunning wheatbelt-inspired set design. "You can often sense the creative process behind a final performance, and ours was particularly playful and organic, with moments of delightful chaos," Sarks notes.
Originally a novel rich with feminist themes, this creative team seems to have unearthed even more profound and open-ended messages within the material. For Gare, the evolution of Sybylla signifies her journey from a rigid perspective of the world to an understanding that everyone has their own story, and that each individual is as multifaceted as she is.
Sybylla's growth is not merely about empowerment in the conventional sense; it also encompasses humility and selflessness. This aligns with Sarks’ vision of feminism, which she believes should be complex and thought-provoking. "Feminism must confront itself as it evolves. Ultimately, true success in feminism lies in recognizing the shared humanity of each person, including oneself."
At the heart of this musical lies a lesson that Miles Franklin might not have fully envisioned—a challenge or invitation to the nation. Sybylla not only envisions a future filled with freedom but also embraces the responsibility that comes with it, which Sarks describes as a "gift that serves a purpose larger than oneself."
"Sybylla embodies fearlessness," Gare states passionately. "Performing this role eight times a week has a way of resonating deep within your soul. You may enter feeling apprehensive and uncertain, but the key is to show up regardless. I feel that Sybylla has instilled in me a tremendous amount of courage."
My Brilliant Career is currently showing at MTC’s Southbank Theatre until February 23, followed by performances at Canberra Theatre from March 7-15, Sydney Theatre Company’s Roslyn Packer Theatre from March 21-April 26, and Illawarra Performing Arts Centre in Wollongong from May 8-17.
