Showcased by an elite cast of the best possible draft picks, new Australian musical One Day in September breaks out from the pack in a confidently presented, all too brief Development Season.
One Day in September is presented by the newly formed Perryman Theatre Company and features direction by Trudy Dunn, daughter of revered Australian theatrical icon Jill Perryman, and choreography by Trudy’s daughter Mackenzie Dunn.
The rare musical to feature both original music and story, One Day in September is the brainchild of Maverick Newman and Kohan van Sambeeck, who have written the book, music, and lyrics. As the title suggests, the musical focuses on AFL football, centring upon a group of players and partners for the fictional Melbourne Bears.
Star recruit Sam Thompson enjoys an incredibly successful first season at the Bears but starts to spiral under the pressure of keeping his homosexuality a secret. The AFL remains the last bastion of players being able to come out, with no past or present AFL players being openly gay.
Originally having the working title WAGs (being the affectionate acronym for AFL wives and girlfriends), One Day in September has a well-rounded focus on the full ensemble set of characters, deftly weaving in further issues such as ageing and drug use. It is a strength of the writing and the performances that each of the six players and six partners have distinct personalities and foibles.
Matchmakers all, the existing WAGs set up new arrival Sophie Parker with surprisingly single Sam. A burgeoning influencer, Sophie loves the attention and glamour but the dream sours when she discovers Sam with his boyfriend Jesse. Feeling the pressure, Sam handles neither relationship well, recklessly causing further complications.
One Day in September is set here and now, and yet completely avoids any sense of jingoistic Strayan and the related cultural cringe. A further strength of the writing is that it does not seek to offer any pat solutions; there is no simplistic happy ending. Obstacles to coming out are explored, including the roughhouse homophobia of the clubroom, the defined factions of male players and female WAGs, and the intense physical trust the players must have with each other to successfully play the game.
After introducing the players and partners, the musical has an unusual I wish song “The Game I Love,” sung by Sam who has already achieved his dream to play for an AFL club. Sam sings the song to his dear departed mother, hoping that she will be proud of him. Sam goes on to treat his devoted father poorly, his self-serving arrogance going on to rise in proportion to his sporting success.
Having attracted a terrific set of young performers who already have extensive experience with large scale musicals, director Trudy Dunn draws fully realised characterisations from the cast. This is no mere reading, with energy and performance quality at peak levels. Dunn neatly balances scenes of affecting pathos with moments of delightful comedy. Storytelling is crisp and engaging, leading to a compelling climax from the full company.
The full set of storylines crystallise with extraordinary company number “One Day,” which is the type of song to often end act one but is presented here as the climax. Sam brings the show home with an 11 o’clock number that emerges from final company number “The Grand Final.”
The orchestrations of Jason Arrow are played by four crack musicians, with composer and music director van Sambeeck as conductor and on keyboard. The rocking band is rounded out by Dave Ellis on guitar, Anthony Chircop on Bass, and Dave Beck on drums.
Choreographer Mackenzie Dunn keeps movement relatively simple for the WAGs but pulls out all the stops for the players. Training, warmup, and matches are stylised as crisp, tight, authentically masculine dance in thrilling sequences that are a memorable highlight of the production.
With the band positioned in view upstage, the design by Bianca Pardo is relatively streamlined at this point, with a wise focus on costumes, particularly Brownlow Medal gowns for the WAGs. Straightforward lighting by Tim Bonser effectively draws the eye to key action. Sound by Michael Waters achieves a good balance between music and vocals, improving this across the opening night.
A superb leading man, Keanu Gonzalez shines as Sam Thompson, commandingly engaging the audience and retaining their affection even as Sam’s behaviour degenerates. A true triple threat, Gonzalez not only serves as associate choreographer but also dazzles as Sam breaks out in an extended solo dance routine in “White Line Fever.”
Lorinda May Merrypor brings her powerhouse belt to the role of Sophie, carefully bringing believability and sympathy to a role that might be hard to believe in less capable hands.
In the somewhat underwritten role of Jesse, boyfriend of Sam, Yashith Fernando brings gentle humanity and lovely singing. Completely avoiding any sort of stereotypes, Fernando presents the audience with a relatable character whose rights are abundantly clear and yet for whom there are no answers.
The most fleshed out pair within the players and partners is married couple Maya and Nathan. Ashleigh Rubenach grounds the WAGs as Maya, underpinning Maya’s sunny established confidence with the encroaching invisibility of a husband who is past his sporting prime. Des Flanagan may be a tad young for Nathan but in this presentation gives a sterling performance, particularly in Nathan’s moving retirement speech.
Nick Simpson-Deeks provides many a welcome laugh as a roving Bruce McAvaney-like commentator. In sharp contrast, Simpson-Deeks brings touching sensitivity to Sam’s downtrodden Dad.
Each giving strong, invaluable performances, the ensemble cast is completed by Mia Dabkowski-Chandler (Kat), Joshua Russell (TJ), Olivia Charalambous (Jen), Axel Duffy (Harry), Zoe Ioannou (Lil), Lachlan Beck (Jimmy), Catty Hamilton (Dan), and David Duketis (Damo).
Already at a very impressive level of polish, it is strongly hoped that One Day in September will go on to enjoy a fully produced season. First stop: Melbourne; next stop: the world.
One Day in September plays at Athenaeum Theatre 2, Melbourne until 30 November 2024. For tickets, click here.
The One Day in September program can be read online.
Photos: Matthew Chan