It doesn't have to be opera. Other arts combine music and drama in storytelling.
Our term turned to the use of dance drama in Indigenous culture and the 30 years of the Bangarra Dance Troup. (More on Bangarra to come when we'll view the full production of Bennelong later in the term.)
Bran Nue Dae
Meanwhile, in total contrast, we're assessing the story-telling in the 'classic' 'feel-good' musical, Bran Nue Dae. Created by Jimmy Chi, it's been a stage production, a highly successful film, and again a stage musical. That's a record of getting the message out that can't be matched by any opera! Here's the Wiki entry on the film, with details about the plot and characters.
So what's the message? The Independent Critic declares of the film: 'Bran Nue Dae is the best Aboriginal musical ever released in the United States....Okay, so that's not exactly saying much….Most likely to be embraced by those capable of surrendering wholly to the cinematic experience without a thought given to rhyme nor reason, Bran Nue Dae may not leave a lasting thought in your head but it sure will leave a smile on your face.'
Well, was that the goal? Or was an intended message too hidden? The next line of the lyrics has the bite - but most people didn't seem to hear it. Listen to the first rendition of the song by the cheerfully rebelling schoolboys, proposing to rebuild the convict ships and sail the white oppressors on the tide.
You get a different picture if you turn to materials prepared for schools. Here's the Perth Festival outline for schools. 'Bran Nue Dae is a cultural, groundbreaking Aboriginal musical ... places our Indigenous community front and centre stage. It tackles dark and sensitive issues with humour and although it first premiered 30 years ago in 1990, it is perhaps even more relevant today, as noted by Naomi Pigram, Associate Director: “We’re touching on issues like having some of the worst suicide rates in the world and this play gave me pride and a sense of ownership in terms of our story.” Here's what Germaine Greer had to say. 'Bran Nue Dae has been called a "feelgood movie". For anyone who is across the issues it is a feelbad movie.'
So is it not a worthy way of telling Australian stories? Read this account by a critic familiar with the creation of the musical.
'THE 2010 FILM adaptation of Bran Nue Dae was a risky venture for Rachel Perkins, despite her being a major Aboriginal filmmaker. She was tinkering with the much loved and awarded original stage musical by Broome musician Jimmy Chi, which revolutionised Australian theatre in the 1990s. It also marked a major creative shift from her previous dark and challenging works, ... As Perkins explained in an interview with Margaret Pomeranz, the film was to be enjoyed ‘for being light, for it being entertaining, for it being joyous and celebratory, and a little bit silly and mad…not to teach about Aboriginal history, or Indigenous politics or culture’.
Perkins’ gamble paid off. The film was hugely popular, showing to large audiences in city and suburban theatres around Australia and breaking $7 million at the box office. Thousands of Australians of all ages and backgrounds were introduced to this vital Aboriginal musical. However, the reviews in Australia and internationally were mixed.'
And here are a few more of those reviews in the US:
From Hollywood Reporter
From Roger Ebert
The movie critic for Toronto Star headlined their review, 'Tie me dancing fool down, sport'. 'One hesitates to cock an eyebrow too archly towards Bran Nue Dae, a wacky Australian musical that makes light of that country’s long history of mistreatment of its Aboriginal people.
It follows the maxim that satire defeats racism. There is merit in this, as Lenny Bruce argued much more persuasively decades ago. Intentions are good.
At the same time, you have to wonder about the film’s almost complete portrayal of Aborigines as dim-witted dunderers, dancing fools, thieves and drunks. Whites fare no better. Does the film explode stereotypes, or reinforce them? '
Years pass - and the revival in 2020, for Sydney Festival, was greeted with more smiles. The Guardian enthused: 'great Australian musical with vibrant cast resonates at Sydney festival.'
But did it tell the underlying story - or just the tale of the road trip of Willie to discover the improbable story (shades of Marriage of Figaro!) of his parentage? The Conversation raised questions about such storytelling: 'Exceptional singing and music obscure the political heart of this classic Australian musical.'