Miles Franklin’s classic 1901 novel introduces itself as a story with no real plot. The Sydney Theatre Company’s new musical adaptation of My Brilliant Career takes this premise and proves it both false and true at the same time. It is a story driven by the relentless, internal ambition of a young woman. I went to see the production, originally mounted by the Melbourne Theatre Company in its preview run at the Roslyn Packer Theatre before its official opening on Thursday, March 26. What unfolds on stage is an celebration of female independence.
The music of the show is dramatic pub rock and folksy bush ballads. The way this is delivered is compelling. There are no external bands. The cast itself serves as the orchestra. The music originates entirely from the multi-talented ensemble of actor-musicians positioned in the centre of the stage. The original score was put together by composer Mathew Frank and lyricist Dean Bryant. The two creators met at the Western Australian Academy of Performing Arts in 2000 and sit firmly in Generation X. Their musical origins heavily influence and infuse a distinct Australian pub rock energy that Gen X audience members will immediately recognise and enjoy. Victoria Falconer acts as the Musical Director and drifts through the space as a non-verbal muse while the entire cast plays instruments, sings in magic harmony, and fills multiple roles.
The production refuses to take itself too seriously. This playful approach is its greatest asset. Back-of-house mechanics at times are left exposed, and crew members occasionally join the action when extra help is required. The stage design makes clever use of depth to draw the eye and provide atmosphere, complemented by lighting that remains simple yet highly effective. Humor is delivered seamlessly throughout the two and a half hours. The horse and carriage scenes was a great example of this particular delight, achieved simply through the rhythmic bouncing of bodies and expressive faces. It shows how an unpretentious approach can deliver successful messaging. The crowd, particularly the women in the audience, clearly adored the comedic elements, ensuring there was a laugh for everyone.
At the centre of everything is Kala Gare as the fiercely independent Sybylla Melvyn. She leads the production with immense energy and confidence. Visual choices initially make it somewhat difficult to fully buy into her character. Her hair and costume changes occasionally hinder rather than help her physical transformations on stage. Yet she pours every ounce of effort into the role and wins the room over by sheer force of will.
Because the ensemble tackles multiple characters, the casting demands are incredibly high. While the actors handle this constant switching with ease, the results are sometimes mixed simply because a few characters do not perfectly align with the natural physical and musical strengths of the performers stepping into the roles. Christina O’Neill and Ana Mitsikas, sharing the roles of the mother and aunt figures, deliver standout vocal performances that anchor the emotional weight of the story. Another highlight is Frank Hawden, the comically arrogant English chum played by Cameron Bajraktarevic-Hayward. His main musical number, full of out-of-place posh absurdity, raises the tempo and adds an appreciated layer of eccentric comedy to the show.
A brief intermission does nothing to blunt the production's momentum, which resumes with precision. The second act, rather than merely sustaining the earlier intensity, deliberately deepens it. The dramatic weight of this half is anchored most in two sequences. It is felt acutely during Sybylla’s gruelling tenure as a governess to the squalid M’Swat family, and again in the decisive final encounter that seals her future with Harry Beecham. In these moments, the pressure of her choices is delivered with striking clarity.
A critical eye will naturally find technical flaws, though these do absolutely nothing to distract from the overall success of the production. The ambitious live actor-musician setup means things occasionally get in the way, and a few loud solo crescendos briefly overwhelm the sound system. The ending also feels slightly drawn out as the clock approaches ten. Yet, these are incredibly minor grievances in the face of a towering achievement. This is undeniably a triumph of a girls' musical. For those willing to surrender to the energy of the room, it easily earns a flawless rating. I thoroughly recommend people of all ages to go and experience it.