Bearded, a new queer musical by co-creators Sean Donehue and Nick Waxman comes with an extensive list of warnings. Opening Thursday night at St Kilda’s Theatre Works, those warnings include (but not limited to) coarse language and sexual references, depictions of homophobia, religious satire and explorations of LGBTQ+ identity – in other words, hardly a place for puritans and bigots.
On the contrary, bigotry exudes an unforgettable presence on stage in this coming out story set amongst the national debate in the lead up to Australia’s same-sex marriage plebiscite in 2017. Laudably, Bearded confronts discrimination and injustice in an all-out war in the safe space of theatre.
Gutsy and pumping as it is with its affecting undercurrents, entertaining score and blazingly gifted cast – musicals along the lines of The Book of Mormon and Dear Evan Hansen might spring to mind – Bearded is, however, a somewhat messy collision of unconvincing narrative ideas that end up grinding along its course.
Conservative and fiery politician Richard Rawler (Anton Berezin) – a capital ‘D’ Dick if ever there was one – is successfully inching up statistics in his campaigning for the Family Matters political party.
In Hope, Berezin makes enormous impact from the start, setting a disturbingly nauseating tone with machismo force in leading the company with his booming and shapely vocals.
His problematic younger school-age daughter Bet (Bek Schilling) grapples with identifying inwardly as a young lesbian while hiding it from the heavy-handed expectations of her family. Schilling is superb in voice and action, their strong minded, firecracker Bet also plucking up courage to commit to schoolgirl sweetheart Kelly who Charlie Jaz Abbott Higgins portrays with lashings of appeal.
Bet’s fortune is her rock-solid friendship with endearing, secretively gay schoolmate and neighbour, Ace McKinnon. As Ace, co-creator Sean Donehue is exceptional, giving a performance bursting with sensitivity, vocal dynamism and a side dish of comic one-liners.
But, in order to satisfy her father’s public image, Bet engages Ace to be her boyfriend to (almost) everyone’s delight. Ace meets and falls for the tall, dark and handsome Casey (Alexander Tye), Ace comes out to his left-leaning father David (Michael Lindner) while, in quite an eye-opener, Richard is seen leaving in the dark, hand-in-hand with a strange man who turns out to be Casey.
There’s more! Casey spills the beans and outs Richard, Richard’s loyal wife Janet (Michelle Fitzmaurice) – who had known for years of Richard’s indiscretions – finally makes her own brave move after Bet comes out to her and, in what would make front page news, Richard’s victory speech is shattered by the reality of circumstances. His political career seemingly isn’t – unsurprising, perhaps, in an age when the bar is set so low.
Along with Bet’s older prudish sister Hailey (Belle Parkinson) and wild, hyperactive duo Axel and CriSta (Teddy Burgess and Rachel Tunaley), the plot has all the intricate twists and turns of a sparkling opera buffa, its more serious intentions seemingly swamped in satirical punches.
Sad to say, in the current climate, Bearded has its own identity crisis in which the fine balancing act falls short while too many threads dangle across its continuous 90 minutes.
Nevertheless, it’s easy to barrack for Bet and Ace in their struggle from the moment Schilling and Donehue share hopes of family acceptance in the touching melodious beauty of You’re Dreaming.
In the second half, when Ace sobs uncontrollably in his father’s embrace after coming out as Lindner calmly and comfortingly sings Let It Out, I doubt a dry eye in the house could be found. These are Bearded‘s great gifts and reminders of how humanity can be judged.
In all, Waxman’s thoughtful direction melds effortlessly with Aadhya Wijegoonawardena’s electric, oft-delightfully cheesy choreography that incorporates the total company of 21 well-rehearsed performers.
A stage set with pamphlet-papered podiums and banners reflecting the political context, together with brilliant lighting choices by set and lighting designer Tom Vulcan, add punchy breadth to proceedings and Sophie Ness’ costumes go far in delineating who’s who in this social justice war.
Musical director and keyboardist Miro Lauritz is accompanied by only guitar, drums and two basses, yet the soundscape is rich and buoyant, culminating in the out-and-proud company celebration led by Ace and Bet with Queer As Fuck!
With an eventual 60-40 vote in favour of same-sex marriage, “Pride” succeeded – only just. As for Bearded, it has much going for it but could it be that the world might very well delight in its crisscrossing plot and spiciness fast forwarding 100 years ahead and away from contemporary memories? For as little as $25-45, whichever way you swing on its offerings, it’s not going to break the bank and worth the journey.
Bearded The Musical
Theatre Works, 14 Acland Street, St Kilda|
Performance: Thursday 9 January 2025
Season continues to 18 January 2025
Information and Bookings: www.theatreworks.org.au
Images: Anton Berezin and the Cast of Bearded The Musical | Bek Schilling and Charlie Jaz Abbott Higgins | Michael Lindner and Sean Donehue – all photos by Jacob McCormack, Monkey Media