The opening voiceover of Bananaland, with its tongue-in-cheek references to COVID and a dystopian view of bands of musicians roaming the wastelands of Australia, perfectly sets the mood and temperature for what is to come. We are in for a roller-coaster ride of strange characters, recognisable and hilarious stereotypes, a wacky story and absurdity, laughter and fun… lots and lots of fun.
Keir Nuttall wrote the book of Bananaland during COVID in early 2021 inspired by the success of The Wiggles and children’s shows, as well as by his own recollections of bands he had worked with during the 90s. The two ideas merged into the narrative.
The story revolves around Kitty Litter, a band or rather an “Onstage Conceptual Art Slash Music Orientated Happening” as its leader, Ruby Semblance, prefers to call it. An angry, political, avant-garde band, they have only one fan, who they refer to as Stephen King, due to his resemblance to the horror author. Ruby believes they are edgy and cool, but their music is terrible. Due to a series of well-explained accidents, the group becomes a highly successful children’s band, the Wikki Wikki Wah Wahs, with Ruby conflicted about their rise to fame.
A number of characters are based on Australian stereotypes, sharply observed by Nuttall. Comedy and jokes are to the forefront, but the show is witty and smart and gives us more than this. It explores deeper issues with some biting social satire that really resonates. Well-developed characters show real people with real dilemmas, while the work swings between laughter and some sadness or even compassion.
Additionally, the music and lyrics of the songs are clever and really well written, developing the storylines expertly. Three musical layers add variety to the score, representing the angry Kitty Litter music, the children’s lollipop music and expressive songs displaying inner feelings. It is a tribute to the work that every cast member has at least one musical soliloquy to deliver. Nuttall and Miller-Heidke also have a gift for expressing just the right emotions for their dramaturgically developed characters, as well as an ability to revise the excruciating Kitty Litter music into acceptable children’s songs.
Musical supervision by James Dobinson, who also orchestrated and arranged the songs, is excellent. The small four-piece band, two of whom have witty onstage roles, keep the music tight and under control.
All seven cast members are terrific in their respective roles, their diverse skills as actors, dancers and singers on show throughout. Additionally, they all engage in the comic nature of the piece with an energy and commitment that is as silly as it is enjoyable.
Max McKenna has quite extraordinary gifts as a musical theatre artist, their intensity delivering a marvellous performance as Ruby Semblance. Their powerful singing in two soul-searching songs is excellent, with first-rate diction. As Ruby’s sister, Karen, Georgina Hopson gives a warm and heartfelt performance, with a gorgeous song to her son, Toby, and some lovely sisterly duets with Ruby.
Joe Kalou plays Ruby’s lover, Seb Kale, suitably ridiculous and self-obsessed, with excellent comic timing. Maxwell Simon makes a glorious character out of the Ozzy Osbourne-like persona of Ex, the fourth band member who is obsessed with Ruby. The ever-talented Dave Eastgate makes the most of Ron Delbridge, manager of the Manhattan in Goondiwindi. His role has some of the best lines.
Amber McMahon and Chris Ryan play an assortment of characters, most of them hilarious and completely recognisable. They are first-rate. McMahon is delicious as veteran singer, Mimsi Borogroves; as a pandering television reporter and a drunk bride-to-be at her Hens’ night out, as well as a cold, corporate record producer. Evans is quietly scary as Stephen King, as well as giving us a pathetic Wade Sewage with a penchant for fire extinguishers. He also plays a marvellous turn as Pikelets the Cat. Additionally, his guffawing television presenter and singing guitarist to the dreadful song, ‘Emotions’, are hysterical.
It is impossible to overestimate Simon Phillips’ key role in delivering this work on the stage. His directorial hand is firmly in control as the musical moves seamlessly from scene to scene, while his overall shaping of the characters and their relationships to each other is assured. He gives us a brilliantly conceived production that works at the highest level artistically, musically and technically. At times, it can be chaotic and riotous on stage, but he always manages to bring it back. The whole is well-wrapped by squeezing as much humour as possible from the script and artists.
Read: Kate Miller-Heidke and Keir Nuttall on the birth of their new musical
He is assisted with a practical and engaging production design from Simone Romaniuk that works exceptionally well. With the musicians at the back of the stage, mostly behind scenery, the front area is kept relatively clear for action. Scenic pieces are flown in and the opening of Act Two with its rainbow designs for the children’s shows is magical. Romaniuk also designed a fabulous range of costumes for the many character roles, as well as Kitty Litter’s grunge and brightly coloured show outfits.
What appears to be a series of false prosceniums are in effect lighting bars that are moved in and out to create different scenes. A clever use of the space, they are effectively controlled, well-lit with flair by Ben Hughes. The sound design by Joy Weng and Terry McKibbin works equally well.
As is usual in musical comedy, everything comes out well in the end and the show finishes on a positive note. with a rousing rendition of the title song ‘Bananaland’. One slightly jarring note is Ruby’s change of heart, which seems to come out of nowhere and seems uncomfortable.
Nevertheless, Nuttall and Miller-Heidke could not have asked for anything better than the rousing response of the audience’s standing ovation on opening night. Examining in part what it takes to follow your dreams with moments of sadness, but lots of levity and joy, Bananaland is entertaining and joyous. It’s a great night out and is only on for a short season and should definitely not be missed.
Brisbane Festival and QPAC present
Bananaland
Playhouse theatre, QPAC
from Kate Miller-Heidke and Keir Nuttall with Director Simon Phillips
Writer, Lyrics and Music: Keir Nuttall
Lyrics and Music: Kate Miller-Heidke
Director: Simon Phillips
Music Supervisor, Orchestrations: James Dobinson and arrangements
Production and Costume Designer: Simone Romanuik
Sounds Designers: Joy Weng and Terry McKibbin
Lighting Designer: Ben Hughes
Cast: Max McKenna, Georgina Hopson, Maxwell Simon, Joe Kalou, Dave Eastgate, Amber McMahon, Chris Ryan
Band: Joel Woods, Luke Moller, Steve Pope, Tom Collins
Bananaland will be performed until 1 October 2023.
