Queensland Music Festival opened with writer Stephen Carleton’s Joh for PM. The production revisits Joh Bjelke-Petersen’s reign as longest running Australian premier. Stephen Carleton was originally approached by Chair of Jute Theatre Company, Gill Townsend, to create a play based on Joh. Carleton found the historical content behind Jo to be so absurd that musical theatre appeared to be a more befitting response to the premiership of Joh. In conjunction with Broadway composer Paul Hodge, Carleton pivots the audience through the carrousel of Joh’s political career.

 

Under the direction of Artistic Director, Kris Stewart, Joh is brought to life by famed comedian and actor Colin Lane. Lane’s capability to engage audiences is exhibited by his ability to develop Joh as a character. Joh is projected as a highly conservative and meek character initially, however Lane channels into the character’s sense of drive. Throughout the production we see Joh develop in his role as Premier. The character’s hunger for power leads to perceivably conniving actions, counteracting his self-projected image as a good Lutheran. What is interesting is Lane’s ability to make the character of Joh appear likeable or vulnerable, despite any apparent faults.

 

Joh Bjelke-Petersen is considered one of the most quotable Premiers, his awkward phrases are revitalised through song. ‘Feeding the chooks’ a phrase that Joh coined to describe his relationship with the Australian press, was used to illustrate his early life spent working on the family farm in regional Queensland.  ‘Joh for PM’ was yet another memorable tune describing the lead up to Joh’s unsuccessful period in Canberra. The song ‘Pumpkin Scone Diplomacy’ featuring Barb Lowling as Joh’s wife Flo, was catchy to the point where the crowd almost appeared buoyant when bopping along.

 

The crowd was of a mixed demographic representing all ages.  I spoke to several audience members during the interval, many of whom brought family members, who commented how they wanted to introduce the younger generations within their family to Joe’s history as premier. Some of the attendees reflected that the current political climate illustrates the need to critique and learn from Australia’s political history. The production cleverly interweaves the story of Joe’s reign as Premier with the current happenings within national and international politics.

 

Clever jovial quips at Pauline Hanson’s and Jacqui Lambie’s expense prompted bursts of laughter by the majority of the crowd, however jokes relating to the Fitzgerald enquiry and the Queensland tourism industry appeared to get mixed reactions.

 

During my conversations with audience members that night, one particular reflection seemed most poignant to me. The audience member discussed a family members arrest during Joh’s premiership. The gentlemen continued that his relative was arrested for performing in a play featuring ‘homosexual content’. The dark realities of Joh Bjelke-Petersen’s time as premier was indeed sugar coated by the extravagance of song and  the bright costumes designed by Anthony Spinaze.

 

Once the uplifting tunes became silent and the audience began their journey home, questions were shared as heals echoed along the Newfarm Park pavement. How could they be so corrupt? How could they be so homophobic? How could the government support international groups that held such racist policies? Why didn’t more of us do something? What did you think at the time?

 

Perhaps it was not just Joh for PM that made the audience ask these questions. Many of us walked through the World Press Photo Exhibition during interval, where works reflected the tension of power dynamics within recent times. That Joh for PM and the World Press Photo Exhibition is taking place at the Brisbane Powerhouse within the same time period appears to be a clever curatorial decision, almost a ‘hard and soft’ approach to engage audience members in political and power based discussions.

 

Listening to the comments at the end of the night, it was apparent that a musical such as Joh for PM is capable of creating intergenerational dialogue and considered reflection on Australian political history.  Despite Joh for PM appearing a bit glitzy, the easy tunes in turn make the content of the production approachable for a diversified audience and an evening well spent night.  

 

By Elizabeth Ralph

 

7^th – 16^th of July 2017 at the Brisbane Powerhouse

4^th – 19^th of August 2017 at the Jute Theatre, Centre of Contemporary Arts Cairns