The deposing of Australian Prime Minister Gough Whitlam is an iconic moment in our political history, as a serious undermining of Australia’s democratic process and independence from the Crown. And that’s exactly, sorta, the way in which writers Blake Erickson and Jay James-Moody and composer Laura Murphy have represented it. With Gold Logie-winner Garry McDonald’s comedic journalist character Norman Gunston at the helm, just as he was on 11 November 1975, The Dismissal delivers a scathing, hysterical and musical recount of the events leading up to Whitlam’s descent of the Parliament House steps.

In Australia we love a bit of mudslinging when it comes to our politicians. And who can blame us? In just the last decade we’ve had more spills, corruption inquiries, media stunts and broken promises than we can count. I guess in a way we’re lucky that’s the case, as the scheming and duplicity inherent to The Dismissal remain relevant to audiences today. Erickson and James-Moody have done their due diligence to ensure their retelling of the time is factual, but also don’t hold back in their largely unflattering portrayals of the big names of the period. Direction by James-Moody captures a real Australiana vibe, the performers’ Aussie accents, 1970s-inspired costuming and choreography all pleasingly nostalgic.

Murphy’s lyrics flesh-out their personas of each main character, giving them their own distinct musical style. Matthew Whittet as Gunston is jaunty and naïve, shown in Why Would You Get into Politics, which makes him a great guide through the story. He can ask questions no one else could get away with and brings the very unrelatable world of high-power politics back down to earth. Whitlam is very 50s rock, hopeful and assertive. Justin Smith as Whitlam captures his determinism and frustration particularly in songs Maintain Your Rage and The House Doesn’t Always Win. That being said, Andrew Cutcliffe as Fraser steals the show a little with his saucy lyrics and thrusting hips, accompanied by his Liberal lackies in Private School Boys. Octavia Barron Martin as Sir John Kerr combines iconic high-pitched voice of the man and stately, almost operatic vocals to emulate his reputation as highly intelligence, but also far too malleable to the opinions of others. Monique Salle’s performance as a punk rock Queen Elizabeth in I’m Not Listening will forever hold a cherished spot in my memory, her leather-clad corgis dancing right beside her.

The standout moment in the show, however, has to be Shannen Alyce Quan’s song Headline as Junie Morosi, the private secretary to Treasurer Dr Cairn, who experienced extremely poor treatment from the media essentially for being a woman. Among the farce, Quan’s song was one of several poignant moments that recognised the more serious underlying issues plaguing Australia’s political system of the time.

It’s equal parts educational and zany, and a joyful depiction of leading Australian creatives telling homegrown stories.

Purchase your ticket to The Dismissal here.

Chardonnay | Wine Pairing

One of Australia’s most popular wines, and one that you’d expect to see in a politicians hand both at a fancy dinner and a Sunday BBQ. Chardonnay when oaked over time becomes richer and more full bodied, reminiscent of the insidious political rumblings that built to the point of no return for Kerr and co.

The Dismissal, Squabbalogic | Tasting Notes

Aussie Season	31 Aug to 21 Oct 2023, Seymour Centre, Sydney. Produced by Squabbalogic
Ticket $	$84-119
Writer	Book by Blake Erickson and Jay James-Moody, Music and Lyrics by Laura Murphy
Director	Jay James-Moody
Theatre Type & Genre	Musical, satire
See it if you like	political comedy, Strictly Ballroom
Wine Pairing	Chardonnay
Criteria for Wine Pairing	Aussie classic varietal, oaked