Image from Yirra Yaakin Theatre Company.
This recounting of the story of Geoffrey Narkle’s life starts in early childhood, growing up in a loving home with Largy, his hard-working and respected father, and Bella, his strict but affectionate mother. Moving from one reservation to another around Narrogin, at the whim of the Native Welfare Department, fond childhood memories are bound up with the security of belonging Geoffrey feels with his extended family, as well as a child’s fascination for camp pets with plenty of personality – the Noongar-language speaking Cocky and Two-Up Dog.
Largy wants to make a better life for his family, through small dreams such as a new dress for Bella. His industry earns him citizenship, but Bella’s scepticism of the ‘dog licence’ is proved sadly accurate when the parents return from a family funeral in Perth to find their children removed to Wandering Mission. Geoffrey gets his first big disillusionments there. Haphazard educational decisions made for him find him struggling with learning a trade in Perth, and he takes advantage of turning 18 to leave and make his own life – drinking and lying around in parks. He eventually takes up with George Stewart’s Boxing Troupe as a tent boxer, finding a route to respect and a way to channel years of anger through fights, before walking away and finding a way to live life for himself.
A slice of memory of the personal impact of the Stolen Generation, Director Kyle J Morrison foregrounds the legacy of the boxing tents, the venue for this production itself a tent pitched in the courtyard of the State Theatre Centre. The stage is composed of patched canvas, with a rope forming the fight circle while the drum thuds and the blows land and George (Benj D’Addario) spruiks his ‘champions’. Jenny Vila’s lighting turns such a specific set into reservation camps and a mission dairy farm, as well as courtrooms and country roads, assisted by Clint Bracknell’s precise music and sound design and the whole cast staying in tune with the tale’s progress throughout.
Clarence Ryan portrays a Geoffrey who has never truly lost the inquisitive and playful child within, who finds the world becoming more confusing and unfair as he tries to do the right thing. Ryan is physically well-matched to the role, which he keeps engaging. Karla Hart plays many female characters, her role of Bella being the most compelling as age, sorrow and despair take their toll. Hart’s other parts seem a bit too similar to each other – more an issue of the script being centred around a male protagonist rather than any fault of the actor. Benj D’Addario plays many characters with aplomb, denied fully-developed parts with the perception of the white roles coming through Geoffrey’s eyes. Maitland Schnaars as Largy and Kid Dynamite is masterful. Schnaars brings the father’s pride in his ‘blackfella Cadillac’, exuberant enthusiasm for two-up and Elvis Presley as well as determined hard work and dedication to his children’s education. As Kid Dynamite he works as a dynamic foil to ‘Barker Bulldog’ Narkle in the ring, bringing humour to bare-knuckle desperation – Schnaars never fails to hit his dramatic mark.
While all the components of King Hit are spot on, overall the direction could be tighter and the pace could be brisker, to deliver stronger dramatic impact. If regarded as part of Australia’s historical documentation, though, this is a valid and insightfully delivered chapter.
Rating: 3.5 stars out of 5
King Hit
Presented by Yirra Yaakin Theatre Company
Written by Geoffrey Narkle and David Milroy
Directed by Kyle J Morrison
Assistant Director – Ian Wilkes
Set & Costume Designer – India Mehta
Lighting Designer – Jenny Vila
Music & Sound Designer – Clint Bracknell
Fight Choreographer – Andy Fraser
Performed by Clarence Ryan, Karla Hart, Maitland Schnaars and Benj D’Addario
Courtyard, State Theatre Centre of WA, Perth Cultural Centre
www.yirrayaakin.com.au
18 September – 4 October 2014
