A world premiere of an original Australian musical is a rare event indeed, and is all the more special when the musical is as intelligently conceived, strongly performed, and confidently produced as Castro’s Children.
With a unique and innately emotional focus for a musical, Castro’s Children shares a vivid snapshot of the sacrifices made by thousands of parents protecting their children from the fallout of Fidel Castro’s regime.
Beginning with the townsfolk’s joy at the overthrow of President Batista, the mood quickly shifts when the intentions of Castro and the Communist party become clear. Under the guidance and care of visionary headmaster James Baker and US Catholic priest Bryan Walsh, Operation Pedro Pan saw children travel to Miami for temporary safety. Unfortunately for all, Castro’s rule continued and the majority of the more than 14,000 children stayed in America, growing up away from the homes and parents.
Contributing both book and lyrics, Peter Fitzpatrick deftly brings the affecting stories of six plucky children to life. Act one sees parents make the heart rending decision to send their children away to safety, while act two moves between the arrival of the children in Miami and the outcomes of their adult lives some twenty years later.
At the heart of the success of the storytelling is early number “Gloria,” which starts with the 15 child actors in a choral concert then gradually introduces the six key children one by one. The characters are vividly memorable, firmly underpinning the dramatic impact when their adult selves are later revealed.
The emotional depth of the material is fully realised in act two, powerfully conveying how unnatural and destructive the separation was for these families. Particularly painful is the concept that the threat of Castro’s impact on children may have largely been spread as unfounded propaganda. The reunion of some children as adults is dramatically compelling, gently tinged with characterful comedy. The adults’ confrontation of Baker and Walsh is cathartic but the unavoidable sorrow of the entire regrettable situation remains keenly felt.
Castro’s Children boasts a beautiful, immediately enjoyable score by Simon Stone. Act one is practically through-sung and, where there is dialogue throughout the show, it is often underscored. Spanish music is evocatively recreated, choral singing features lush harmonies, solo ballads and duets are powerful, and there is even a pair of comic songs mocking the insidious involvement of the American CIA.
Fitzpatrick and Stone bring their own work to the stage, with Fitzpatrick taking the lead as director and Stone serving as music director, playing keyboard and conducting a generous contingent of 11 fellow musicians. With 12 adult and 15 child cast members, full company singing is nothing short of glorious, enveloping the audience in lush sound from the very first notes. Full credit to the immersive sound design of Ben Anderson.
Fitzpatrick memorably presents a diverse set of characters, establishing clear driving forces and desires, sometimes with only brief snippets of scenes. In a judicious move, there is no attempt to have the cast “play” Cubans, completely avoiding any hint of clichés and stereotypes. Parents and children are universal characters and their stories effectively transcend any specific time, place, or culture.
Castro’s Children could be described as a concept musical, presenting aspects of a story largely through song and moving about freely in time and place. The fact that so much story is told, and all of it so clear and engaging, is testament to Fitzpatrick’s expert direction and the wonderful talents of the cast.
The Cuban setting is gently suggested in Janette Raynes’ impressive range of costumes. The relatively simple stairs and bridge setting by Darren O’Shea and Michael Large is given character by a full width, subtly aged wall of fencing. Ian Scott’s lighting bathes the stage in colour, atmospherically suggesting different locations in the absence of any actual scene changes. Movement coordinator Roman Berry brings lively dance to town festivities, scoring extra points for recreating the effect of children on a rollercoaster.
The cast of Castro’s Children fits the old chestnut “an embarrassment of riches.”
Fem Belling belts soaring power ballad “Song for Carlos” on behalf of every mother. Paul Watson doubles as a father crippled with doubt and then as the blessedly self assured adult version of his original character’s son.
Tod Strike capably carries the emotional weight of James Baker, keenly portraying the man’s initial driven passion and bringing humanity to his later realisations of misfortune. Tom Green brings merry warmth to Father Walsh, later capturing the brittle coldness of the church when confronted with gross misdeeds. Strike and Green are heard at their best in standout act one duet “My Chosen Universe.”
Madeleine Featherby comes to the fore in act two as adult Olivia, beautifully singing her 11 o’clock solo in “Pictures of Me.” Daisy Valerio captures a striking sense of vulnerability as adult Ana, whose current work in dance is nothing like she dreamed.
Zak Brown demonstrates his range in a comic role, playing devilish CIA agent Culpepper, amusingly flanked by Noah Szto and Green as Frost and Snow. Bryce Gibson contrasts his early role as strident revolutionary Luis with miserably traumatised adult Pepe. Further invaluable dual roles are played by Drew Lane, Gabrielle Ward, and Laura Wong.
The heart of the story, the six child characters are engagingly and distinctively brought to life.
Stephanie Anderson beams with the joy of dance as child Ana. Bessie Blaze captures the serious, reflective aura of a potential nun as child Maria. Archie Mendelssohn exudes lively energy as restless, baseball-loving child Pepe.
Lira Mollison brings a precious sense of delicacy to the devoted sister that is child Olivia. Daniel Nunan underpins the playground bullying of child Raul with a sense of dignity. Campbell Van Elst gamely throws himself into the awkwardness of bullied child Carlos.
Each giving their all in song, dance, and acting, the nine additional young cast members are Aria Aninipoc, Sasha Babushkin, Kailee Baulk, Elliot Frankeni, Chase Kendall, Scarlett May, Jaylen Nagloo, Lia Scantlebury, and Coco Shelmerdine.
The perfect balanced blend of thought provoking theatre and vibrant entertainment, Castro’s Children is highly recommended for Melbourne’s legion lovers and supporters of musical theatre. Special mention of the incredible value of the tickets at only $59 for a cast of 27 and orchestra of 12. Unbeatable!
Castro’s Children plays at Gasworks Theatre, Melbourne until 13 July 2024. For tickets, click here.
Rehearsal Photos: Teresa Madgwick