Up the Ladder

Up the Ladder

ACPA & QPAC

QPAC Cremorne

24^th – 27^th October 2012

Reviewed by Xanthe Coward

“Here’s a story of aboriginal people aspiring…” Director, Wesley Enoch

The Aboriginal Centre for the Performing Arts (ACPA) was established in the 1990s and in 2011 enjoyed a sell-out season of Stolen, directed by Leah Purcell. This year’s final production, directed by QTC’s Artistic Director, Wesley Enoch, is Roger Bennett’s short play, Up the Ladder. The relatively straightforward story of an Aboriginal man rising through the ranks of the boxing world to become a champion becomes colourfully and noisily chaotic with the addition of fabulous original music (Musical Director Laine Loxlea-Dannan and Composers Laine Loxlea-Dannan, Bradley McCaw, Garret Lyon & Alinta McGrady) and dance (Choreographer Penny Mullen. Fight Director Niki Price).

Up the Ladder, as Director Wesley Enoch acknowledges, is a bit of a Trojan Horse. We follow a love story and an Aboriginal man’s quest to be the best he can be, in a bid to achieve notoriety and the means to support his family. We also see the sorry state of our society not so long ago, during a time that kept Aboriginal and non-Aboriginal people separated and scared of what might happen should they ever enjoy the same level of “equality” (what a loaded word that is!). The political agenda is brought under the spotlight in the final moments, rather than getting in the way of a good story. Or is it the real story?

After an excited welcome in the foyer from two of the carnival crowd, and a dodgy offer of cheap watches from a dubious character who introduced himself as Shifty, we made our way to our seats in the Cremorne – it’s always freezing in the Cremorne – and looked about to see most of the company nearby, dressed in (1950s) vintage apparel and chatting and laughing amongst themselves. Many in the opening night audience were in no hurry to sit and we wondered aloud just who was in the show and who was there to see it! The question persisted as the show began with an upbeat song and an energetic jive on stage and off, while enthusiastic audience members added their own exuberant cheers and shouts to the carnival atmosphere. Two gentlemen appeared to be plants in the audience…at first. Their vocal contributions continued until well into the performance, when they left the theatre surprisingly quietly. This irregularity was the most hilarious opening 20 minutes of anything I’ve ever seen! Fortunately, we were able to follow the simple story during that raucous start and enjoyed the gentlemen’s antics as much as the early music and dance numbers; however, I noticed a few negative comments muttered by other audience members who were having a harder time than we were, focusing on the ACPA performers (as opposed to those uncles in the first two rows!). I guess all sorts are going to the theatre. And isn’t that fantastic?!

Wesley Enoch has turned this play into a Bran Nue Dae inspired extravaganza. The lighting (Jason Glenwright) is evocative of a fair ground and the design (Josh McIntosh), with its multiple levels, brightly coloured bunting and over-sized posters of Aboriginal boxers covering the upper walls, takes us to a time and place that our parents and grandparents speak of. A time and place we can hardly believe existed. And yet, in many ways and in many places, exists to this day. In ACPA’s final production for 2012 we see that the future of these Aboriginal artists at least, is bright. In particular, the band is on fire, the singers are in fine voice (I’d like to hear those boys sing some Scott Alan), and while the dance component is uniformly good, as it always is at ACPA, two of the dancers are outstanding. You’ll know in an instant which two they are. They have the same exquisite control over angular quirks of the sort of choreography that is so recognisable in Bangarra’s repertoire, and they have the intensity, natural confidence and focus to match that – and any other – professional company’s standards. It makes them very easy to watch. The dance ensemble together make a well-rehearsed and beautifully disturbing impact and in stark contrast, their prowess makes others appear much less comfortable on the same stage. It’s a mixed crowd, as you tend to expect at any student production; some are stronger performers than others. But the overall effect is Enoch’s specialty; it’s infectious fun and inspiring storytelling with a core message of tolerance, understanding, recognition and reconciliation.

It’s a short season and the three remaining shows this weekend are likely to sell out so for a bit of fun and a serious message behind all those bright lights and bunting, be quick and get along to see ACPA’s Up the Ladder.

Listen to Wesley Enoch and ACPA performers chat with Kelly Higgins-Devine.

Image by Sean Young

 

 

Image by Sean Young

 

Want to train at ACPA?

ENROLMENTS NOW OPEN!

 

A Moment With Eliah Watego

The Aboriginal Centre for the Performing Arts production of UP THE LADDER
 opens next week at

QPAC’s Cremorne Theatre.

Directed by Wesley Enoch
 and featuring more than 50 Dancers, Singers, Actors and Musicians from the Aboriginal Centre for the Performing Arts.

After a sell-out season of Jane Harrison’s powerful and moving play Stolen in 2011, the talented students of the Aboriginal Centre for the Performing Arts (ACPA) return with their new production Up the Ladder.

This year, under the guidance of Queensland Theatre Company Artistic Director, renowned playwright and director Wesley Enoch, the ACPA students bring their own dynamic style of music, dance and acting to Roger Bennett’s animated play Up the Ladder.

An inspiring story of triumph over adversity, Up the Ladder evokes the carnival atmosphere, humour and energy of 1940s and 50s sideshows as we follow an Aboriginal man’s journey from the humble rough and tumble of post-war Australian boxing tents to a high profile professional career as a champion boxer.

This exciting new production of Up the Ladder will showcase the next generation of emerging Aboriginal and Torres Strait performing artists, share potent memories of Australia’s post-war history and provide a joyous message of redemption and reconciliation.

ACPA Actor, Eliah Watego (you may remember him from Blackrock), shared his responses to some quick questions in the lead up to Up the Ladder, opening on Thursday October 25th.

It’s about a man who wants to prove that he is worth being treated right and his struggles to get it. To prepare for the show we had all the actors research different topics involving the show such as the boxing in the 50s, clothing, politics, treatment of indigenous people and of women in the era.
 


How is the carnival atmosphere created?

The stage itself is going to help and we have specific people creating the energy as well.
 


Were there political and social points of the times that became important to the setting and the telling of the story?

We had one major one which was the Aboriginal preservation and protection act.
 


Can you tell us about your character and what this role means for you as an actor?

My character is Sid James and I’m Johnny, the main characters’, friend who supports him in his struggle to the top.
Sid James is a very positive character who continues to bring joy to his friends and family.
 


Tell us about working with Wesley Enoch.

Wesley is an amazing Director who knows how to work with young indigenous performers and knows how to get what he needs from his actors in the moment while still creating an enjoyable environment for everyone.
 


Wesley often talks about community. Can you tell us about the ACPA community?

It’s a place where we are continually growing as performers and creating new contacts/family as we study.
 


Tell us about the ACPA staff and what are your preferred ways of working?

The staff are a great group who not only expect so much from us but of them selves as well which helps us push ourselves to best we can be. 

Do you have any prior formal/informal acting, singing or dancing training?

This is the only training I have had since I started straight out of highschool.  

Are you a fan of Bangarra Dance Theatre? What do you think their success means for them? For you?

I love the opportunities that Bangarra has created for indigenous dancers especially since one of my friends from ACPA got into it. I think it gives a drive for some of the dancers here knowing that they can push for an amazing place like that.

Where is home?

My family originated from the Torres Strait though I was born in Brisbane and therefore I consider this place to be my home and my connection to culture.

What do you see happening in Australian theatre and film? What would you like to see more of?

I think that as the industry grows to accept our culture more, the chance for our stories to be told will become more frequent. I would like more stories being written by Indigenous writers to be funded and shown to the public.

What are you reading?

Solely my script, making sure I know my lines and am ready.

What would you be doing if not performing?

Not sure since I have wanted this for so long.

Where do you want to be in 10 years time?

I hope to have a good name in the industry and for people to think I handle my career with drive and professionalism.

Book for Up the Ladder