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'In a wondrous world of riddles and hidden treasure, bumbling Jack Hare is on a race against time to deliver a message of love from the Moon to the Sun. Far, far away in a world just like ours, a mother cheers her son Joe with the tale of Jack Hare’s adventure. But when Jack’s mission goes topsy-turvy, Joe and his mum must come to the rescue, and the line between the two worlds becomes blurred forever.
'Bringing to life Kit Williams’ iconic picture book, Masquerade stars a talking fish, a tone-deaf barbershop quartet, a gassy pig, a precious jewel and a few mere mortals. It’s a magical adventure that is, at its heart, about the love between a parent and a child.
'Bound to amaze and enchant audiences aged 9 to 90, Griffin begins 2015 with the world premiere of Masquerade at the Sydney Opera House for Sydney Festival. Sam Strong and Lee Lewis join forces to co-direct, weaving their own special magic over a fabulous cast, with songs and music performed live by Mikelangelo and the Black Sea Gentlemen.' (Production summary)
Via State Theatre Company of South Australia.
A Griffin Theatre Company and State Theatre Company of South Australia co-production.
Presented by Sydney Festival and Sydney Opera House, 7-17 January 2015.
Presented by Adelaide Festival Centre and Windmill Theatre, 20 - 31 May 2015.
Directors: Sam Strong & Lee Lewis.
Designer: Anna Cordingley.
Lighting Designer: Geoff Cobham.
Composition & Musical Direction: Pip Branson & Mikelangelo.
Assistant Director: Nescha Jelk.
Associate Designer: Romanie Harper.
With Kate Cheel, Helen Dallimore, Nathan O’Keefe, Zindzi Okenyo & live music by Mikelangelo and the Black Sea Gentlemen.
'When asked by Melbourne Theatre Company about the changes made in her adaptation of Craig Silvey's novel Jasper Jones (2009), Mulvany noted that although it is 'his book on stage … it's also important ultimately for it to be a Kate Mulvany play'. This is important when analysing Jasper Jones and also Mulvany's adaptation of the picturebook Masquerade (1979) by Kit Williams. Mulvany, a significant figure in contemporary Australian theatre for her work as an actor and a playwright, has been lauded for possessing a 'remark- able' quality, which is 'deliciously unpredictable and courageous', and 'totally inhabited and transforming'. Mulvany has seen global recognition for her acting, and as a writer, with her adaptation of Medea - co-written with Anne-Louise Sarks - being staged in Auckland, Dublin and London. Her other plays have remained in Australia, typically having short seasons and occasional revivals. Although I credit Mulvany as an adaptor − as she has written five successful adapted works − Mulvany sees herself simply as a playwright. She notes, 'I don't adapt. I write. I'm a playwright … And if it's an adaptation of a play or a book or a film, it's usually an adaptation of an event … taking a real-life event and adapting that.' I argue it is crucial Mulvany be seen as an adaptor, as her style of adapting material including autobiographical material is unique and enhances the story that she's adapting. In both Masquerade (2015) and Jasper Jones (2016), previously written material and previously lived experiences are utilised in adaptation.' (Publication abstract)
'Playwright Kate Mulvany’s Masquerade wears its adaptation on its theatrical sleeve.'
'When asked by Melbourne Theatre Company about the changes made in her adaptation of Craig Silvey's novel Jasper Jones (2009), Mulvany noted that although it is 'his book on stage … it's also important ultimately for it to be a Kate Mulvany play'. This is important when analysing Jasper Jones and also Mulvany's adaptation of the picturebook Masquerade (1979) by Kit Williams. Mulvany, a significant figure in contemporary Australian theatre for her work as an actor and a playwright, has been lauded for possessing a 'remark- able' quality, which is 'deliciously unpredictable and courageous', and 'totally inhabited and transforming'. Mulvany has seen global recognition for her acting, and as a writer, with her adaptation of Medea - co-written with Anne-Louise Sarks - being staged in Auckland, Dublin and London. Her other plays have remained in Australia, typically having short seasons and occasional revivals. Although I credit Mulvany as an adaptor − as she has written five successful adapted works − Mulvany sees herself simply as a playwright. She notes, 'I don't adapt. I write. I'm a playwright … And if it's an adaptation of a play or a book or a film, it's usually an adaptation of an event … taking a real-life event and adapting that.' I argue it is crucial Mulvany be seen as an adaptor, as her style of adapting material including autobiographical material is unique and enhances the story that she's adapting. In both Masquerade (2015) and Jasper Jones (2016), previously written material and previously lived experiences are utilised in adaptation.' (Publication abstract)
