Photo: Toni Wilkinson
A story of first contact, colonialism, resistance, and – in its very final scene, of faint hope for the future – The Rabbits is a hybrid opera based on the acclaimed children’s picture book of the same name by author John Marsden (Tomorrow, When the War Began) and illustrator Shaun Tan (The Lost Thing). Adapted by the Director of Barking Gecko Theatre Company, John Sheehy, the libretto is by Lally Katz, with the score composed by Kate Miller-Heidke and additional music by Iain Grandage.
From a bare stage rises a wooden mountain, its curved walkways rising in narrowing spirals reminiscent of Bruegel the Elder’s Tower of Babel. This is the home of the marsupials, and from its ramparts they watch anxiously as the rabbits – alien invaders, deaf and blind to the unique sights and sounds of the land they are intruding upon – first explore the land, then, in greater numbers, conquer it and its people.
‘Hop-hop-hooray!’ cry the rabbits as they erect smoke stacks and chimneys and chop down the trees; as they force the younger marsupials to drink fermented carrot juice and perform for their entertainment.
Led by the powerfully-voiced David Leha as 3 Stripe and Lisa Maza as Roxie, the marsupials fight back, but the rabbits’ numbers continue to grow, as do their monuments and cities. From atop the mountain’s peak the bird (Miller-Heidke) watches tragedy unfold.
While the creation of a new Australian opera is to be applauded – especially one created for younger audiences and designed to introduce them to the art form – in its current form, The Rabbits fails to cohere either musically or dramatically. That said, it is not without moments of wit and charm, such as the rabbits’ chorus of tea-slurping and Bugs Bunny-style lip-smacking, as well as spectacular costumes which render the invaders truly alien – part animal, part machine.
But despite its periodic charms, overall, the production – perhaps in part due to the challenges of working without clearly defined characters and a relatively thin narrative – lacks substance. Moments that should move, such as a scene in which the rabbits steal away the marsupials’ children, fall oddly flat; they feel inserted into the narrative rather than a natural part of it, and consequently lack dramatic impact.The transitions between scenes further drain the production of energy, and the production’s musical structure – a blend of opera and pop music – sometimes seems at odds with the story; nor to its diverse musical elements always entire gel. As a genre, pop music is poorly suited to scenes of sustained drama and consequently, Miller-Heidke’s score fails to truly get to grips with the emotional heart of the story.
In this the production is not helped by Lally Katz’s libretto, which lacks poetry and never really takes flight.
The production is stronger in its more comedic moments; a scene in which the various rabbits – including the falsetto-singing scientist Kanen Breen and the egotistical but ineffectual Captain Robert Mitchell – row towards the new land, complaining of sea sickness and diarrhoea – works well.
The live band, led by Iain Grandage, plays strongly, though the music never really compels; it sketches out emotions rather than truly conveying them. Performances are strong throughout.
Inspired by Shaun Tan’s original illustrations, the production design by Gabriela Tylesova (Love Never Dies) is exceptional; her marsupial costumes charm while the various rabbits are truly inspired, capturing the more baroque elements of Tan’s original illustrations perfectly.
For the record, the majority of the audience gave the cast a standing ovation on opening night, suggesting this critic’s lukewarm reaction to the work was not shared by the majority in attendance.
Rating: 2 ½ stars out of 5
The Rabbits
A Barking gecko Theatre Company and Opera Australia production
In association with West Australian Opera
Commissioned by Perth International Arts festival and Melbourne Festival
Based on the book written by John Marsden and illustrated by Shaun Tan
Composed by Kate Miller-Heidke
Libretto by Lally Katz
Adapted and directed by John Sheedy
Musical direction, musical arrangements and additional music by Iain Grandage
Designed by Gabriela Tylesova
Indigenous Consultant: Rachael Maza
Cast includes Kanen Breen, Kate Miller-Heidke, David Leha, Lisa Maza and Robert Mitchell
Heath Ledger Theatre, State Theatre Centre of WA
12-17 February
State Theatre, Arts Centre Melbourne
9-13 October as part of the 2015 Melbourne International Arts Festival
Perth International Arts Festival 2015
www.perthfestival.com.au
13 February – 7 March
