OBSERVER: Gospel According To Paul
Subtitled ‘the second coming’, the return season of this one-man show has lost none of its verve and vigour.
Jonathan Biggins has seamlessly added contemporary political references that are hilarious and reverberate like a gut punch from the man he portrays, former Prime Minister, Paul Keating.
The mannerisms and voice are pitch perfect, given a sense of how Keating’s inflection and presence were as potent as the withering barbs that brought the opposition to its knees.
Biggins is also a master of theatrical form with the 90-minute show moving seamlessly between a comic overture of which a standup comedian would have been proud, touching on both the personal and political history of the man and the times, but allowing for moments of reflection that are quite poignant.
Biggins then made economic theory palatable with a deft use of vaudevillian showmanship.
Aarne Neeme’s direction has Biggins looking completely at home on a set (Mark Thompson) that conveys the man; the classical furniture and fittings embody Keating’s taste.
The lighting changes (Verity Hampson) create an aura suitable to the moments delineating realism from vaudeville and the slide night format many of a past generation will recall with terror and amusement. But just as quintessential to Keating was the music in his life (David Bergman).
Biggins is clearly no Tom Jones, but the portrayal of Keating ripping out a tune speaks to a man who had the perspicacity to leave it all on the floor of parliament.
There is no better way to acquaint a younger generation with our political past than to see Biggins as Keating. Vote one for Biggins – an audience poll on the night would have seen the motion carried unanimously.
Until November 1 at The Playhouse, Arts Centre Melbourne.
Review by David McLean