JULIA

Julia Gillard became Australia’s first, and so far only, female Prime Minister in 2010 in controversial circumstances. During the three years she served in this capacity she was subjected to vindictive media, insults from the Opposition and some of her own party who set out to undermine her. Joanne Murray-Smith wonders why, at the time, people may have felt indignation at the this treatment, but not the overpowering rage that a woman, occupying the highest position in the government, was subjected to such treatment.

In the end Julia Gillard demonstrated that rage in her mysognist speech – I will not be lectured to by that man: I will not – a speech where Justine Clarke, with red wig and blue blazer, brings the play to its dramatic conclusion.

It is thought provoking to compare the musical ‘Keating!’ to ‘Julia’. I can not imagine we will ever see ‘Julia the Musical’ in our theatres. Julia Gillard, despite her unfortunate remark during an election campaign, that we were about to see the ‘real Julia’, was not a personality politician. In her own words she was a negotiator, and an effective one. Joanna Murray-Smith has sought to flesh out the concept not only of Julia Gillard herself, but of the women who have striven to play a significant role in pubic life. Women who are still fighting against the stereotypical representation that they can cogitate the world’s problems as they do their ironing. As such this play suggests more questions than answers – surely what good theatre should achieve.

The simple but effective staging and lighting, with its two walls of mirrors and a square delineated by light from time to time, designed by Renée Mulder and Alexander Burlage allows the attention to focus on Julia, growing from a child who ‘wants to think’ to a young woman who realises her ambition to make a difference. A person who could say ‘I will not’ from an early age, and mean it.

Justine Clarke is part narrator, part Julia herself as she seamlessly presents Julia Gillard, woman and politician as one who is comfortable in her skin and knows her own mind. She is totally convincing as she negotiates accents and personae. It was a revelation to hear her give the entire final speech, which has become so famous. At no time during the one and a half hours did the energy or tension flag.

She is joined on stage by Jessica Bentley as Young Woman. Director, Sarah Goodes explains the decision to include Jessica Bentley in the production as’ at times the younger Julia, at times her conscience, at times a representation of future generations’. 

What the play Julia does bring to the fore is the appalling treatment Julia Gillard endured. From the peurile ’satire’ aired by the ABC, to Germaine Greer’s ridiculous comments about Julia’s jackets, Alan Jones claiming that her father ‘died of shame because his daughter was a liar’, to the crude menu ar a political dinner, where breasts and thighs featured. This  treatment should never have been tolerated. Ironically there were a few sexist remarks about men and their shortcomings, which delighted the women in the audience who broke into spontaneous applause. Fair game? No man was harmed during this production.

Julia is a play well worth seeing. It has much to say not only about a remarkable woman who has continued to serve in public life but shines a spotlight  on our political system and politicians today. 

State Theatre Company South Australia

Dunstan Playhouse 16-31 August

Playwright: Joanna Murray-Smith

Director: Sarah Goodes

Photo credit: Prudence Upton