Getting there: reliving the journey

I got a strange message from Ant Lewis recently. He asked me when my birthday was. I told him it was some time off, and he replied that I need to change it because it’s coming early.

And the birthday present he had for me was a copy of a video of the musical “Getting There.”

And what a massively early but massively appreciated present it was. He sent me a link early on a Saturday night and I was watching and rewatching it until 4am Sunday morning.

As the intervening years have slightly diminished the memory of the show, here it was preserved for all time. And not a perfect version by any means. No multi-cameras, no splicing best bits from multiple shows. Just one straight through performance from one of the early shows, warts and all. Just a genuine snapshot of the show.

And while there were a few bits that didn’t work and you might do differently if you did it again, I was blown away by so many fantastic elements that I was already aware of but which were refreshed by watching this video. Particularly the dream cast I was lucky enough to work with.

Thanking the Village

Let’s start with the lead, Shannon Trama as Matt Morrison… not only appearing in a ridiculous 21 out of 23 scenes or something like that, and despite never having a lead role before, not only took on this personal marathon but was first to know all of his lines. And he knew his lines so well, and therefore his character so well, that it didn’t matter if he missed a line or someone around him missed a line, he knew exactly what Matt would say in any situation and was able to keep it on track. His singing was a perfect fit to the role and he delivered a measured character arc from nervous non-confrontationalist to a leader who took chances and stood up for loved ones.

And to say his wife was the perfect choice for his female co-lead is not only recognition of their powerful chemistry together, but also an acknowledgement of her acting skills. I’ve said it privately and I think I’ve said it publicly, but Sarah Trama is one of the finest, most gifted actresses I’ve seen grace Goulburn’s various stages. Her nuance and range meant she could be strong, stoic and powerful, or vulnerable and hurt as needed while her exquisite voice added such emotion to key beats of the show.

The list goes on… Dan Buma in career best form with such strong comic timing and delivery and such a strong chemistry with his stage and real-life mate, coupled with one of the most heart breaking moments of the show. Alfie Walker, for whom the part was literally written, showcasing his range from self-deprecating comedic pratfalls to a heart-wrenching version of “Living in the Territory” (for the first time sung so fittingly by a proud First Nations man). In fact he, his wife and Richard Orchard as the Northern Territory Crew were such scene stealers you wish there was a show written just around them.

Ant Lewis absolutely inhabited the role of grandfather Walter White (yes I know, there’s a guy in Breaking Bad called that) and provided many of the most powerful moments of the show. His interpretation of Pat and Geoff Drummond’s songs so beautifully displayed the songs original intent. But for me, Ant was far more than that. He was one of the earliest supporters of the project from one of those long-winded discussions that I force upon people, where I outlined the project and he immediately said he was in (well immediately as in when I finally stopped talking). He was one of my strongest and most vocal supports from that time onwards and I called on his support frequently.

And then Ebrentia Brits. The Ferrari in the Garage. The best singing voice I’ve ever heard locally who not only sang a few songs beautifully but on watching this video can clearly be heard providing parts and harmonies where needed, every time she was off stage. But far more than that. She was the Musical Director who I first told the job wasn’t going to be much, then progressively kept adding more and more to her load out of desperation for musical tasks that were beyond me. I tried to say thank you by building a show, Jingle $ells, around a very Ebrentia-based character but COVID cancelled it. Maybe one day it will see the light of day but every day you can see the light of Christ shining from Ebrentia (and I don’t say expressions like that often, or loosely).

I should probably stop singling out cast members because there’s still a lot to go, and I loved everything they did, but this is already running long.

Overall, I think the most powerful reminder I received from watching the video is the incredible gift the entire cast and crew gave me in being willing to allow me this opportunity, to follow this dream, even though at many turns I was ill-prepared for it, and to make it a reality. No-one deserves such a show of faith or such generosity but I received it whether I earned it or not.

The cliché is that it takes a village, but I was blessed with an uber-talented village of superstars whose DNA is all in the mix in building a brand new show. That DNA was present in:

• The read-throughs, where we heard out loud what was working and wasn’t working and took on board many (but not all) suggestions to fix bits.
• The professional-quality design work for logos and posters as well as the set work of Sharon Powell and her team of assistants in preparing awesome backdrops that set the scene so well.
• The set creation of Marty Yeadon, Bob Turner and gang who built the world of Getting There.
• Then all of the myriad of jobs… makeup, wardrobe, stage management, choreography, front of house…

And the band. Or “The Getting Band” as I like to call it. Without mentioning everyone, two I will single out were guitarists Andy Wood and David Butler. Andy not only put down such a strong lead guitar in all of the rockier tracks but also provided a lot of assistance with parts and arrangements before the show got underway. And my old work colleague Dave Butler was so keen to help this happen for me that he drove from Canberra to rehearse and to appear. His acoustic guitar was such an essential element of songs like Living in the Territory and When you say Goodbye to me and so many others that you can’t imagine it without him.

Old mate and frequent collaborator Jane Van Dorp produced the show with support by my absolutely strongest supporter, best friend and wife Janet Gordon who always has my back, always carries more than her fair share at home and always holds me together), and by Lynda Yeadon. Another dear friend Deb Tsakiris took on the job of Assistant Director and unofficial occasional therapist and so many others (all listed at the end of the video I hope) all dug in to make what I think was an amazing creation.

There were lots of challenges to overcome. We had no sheet music. We had no graphics. Sometimes, we had no idea. But stealing a phrase that stuck with me from the film “The Martian”, whenever we encountered a problem, the crew would work the problem, solve the problem, knowing if we solved enough problems, we’d have a show.

There was, I felt at the time and still feel now, a degree of unnecessary opposition to the show from a very small section, which I admit I let take up too much of my headspace at the time, and sometimes cloud how grateful I should have been. But I was always grateful.

It all starts with Pat Drummond

And speaking of gratitude, it all starts with Pat Drummond.

Imagine being a fan of a singer-songwriter all your life and actually getting the chance to get to know him and talk to him personally.

Then imagine having the nerve to say can I build a show around your songs.

Then imagine he says an enthusiastic yes.

Any of these are “buy a lottery ticket” level events.

But then add to that, fiddling with some of his songs, several quite significantly, and being allowed to with his blessing? Impossible. But it happened.

Pat has always been one of Australia’s premier and under-recognised song-writers. His stories from all walks of life across Australia are Banjo Paterson-esque and his recurring themes of standing up, supporting those around you, caring about others, living honourably not only echo the messages my parents had provided to me all of my life but also offered an opportunity for linkage into a form that was never intended for them.

Also adding to the uniqueness of these songs is that Pat’s career had flowed through folk, to pub rock, to bush ballads and Australian folk-country offering a diverse catalog few could offer or equal.

And that’s not at all to minimise or leave out his brother Geoff. While Geoff didn’t take on in life the full-time troubadour job his brother did, his songs are every bit as accessible and resonant, not to mention well-suited to the story of the show. In fact, if you thought “Shoalhaven Man” and “Point of View” were written by Pat Drummond, you’d still say they were among Pat’s best songs.

So their generous approval to use their songs, the single greatest resource of the show, was unimaginable but forever appreciated.

Upon reflection

Did I weave together a story good enough to match their music? I can’t judge that but I am very proud of it. Young Bruce Springsteen, two years into his recording career, set out to write the great American rock song and accomplished Born to Run. He swung for the fences and connected. I must confess that in the back of my mind I hoped it was possible to write that missing white wale of Australian theatre, the Great Australian Musical and I swung for the fences.

I was over-reaching, and it’s not that, but it does include some resonant contemporary and timeless Aussie themes underlined by these pivotal songs. There’s bullying, both as kids and, juxtaposed, as farmers about to lose their land. There’s also cyberbullying, peer pressure, standing by each other, redemption. True Love.

Many of those bits were from lived experience (like when we lost our farm, and elements from my time at school). There are many other personal elements in the show… the missed phone calls while someone you love is dying, being told to leave an ER while that person is crashing. Much of the rewritten historical segments of The Rest is History are based on how the Gordon family arrived in Australia and settled on a dairy farm in (you guessed it) the Shoalhaven.

I couldn’t resist using the surnames of my partners in crime in seeing Pat at the Rest Hotel on Friday nights all those years ago (White, Morrison, Barron, Bungeye, Stevie, Simon). And of course Ronnie was a double salute to Pat’s brother Ron Drummond, and my dad, Ron Gordon.

There are some really good bits in this show. I don’t feel arrogant saying it’s a good show, partly because the songs (which mostly aren’t mine) do so much of that heavy lifting.

Did I direct it well? I found out some more of my weaknesses in the project (like I needed more weaknesses) and the ones I didn’t find for myself several critics were kind enough to let me know, both in terms of the script and my job of direction. I learned some things but if the point of this is complete honesty I’d be lying if I said I think I did a bad job.

It wasn’t perfect. In watching back the video I saw so many bits where the cast created their own bits in different scenes that I know I didn’t give them. I am so grateful for and proud of their individual creations. Particularly the Bunny Boilers… what absolute pros and creative artists they are… making up so much of their own movement and background action. Or the fight scene which is a world away, and far better than, what I suggested.

But at the end of the day I think that’s still the way I would choose to direct… having a clear vision with some very specific bits (and even those were up for discussion) and in other bits, hoping to draw on the wisdom of the crowd. Where I often repeat that I can’t act, can’t sing… I won’t add that I can’t direct even though others hold that belief. At some point, after much introspection and deliberation, you just have to arrive at what you truly believe and let others hold whatever opinion they like.

There are things I would change in the script and things I would change in direction. Some scenes and songs just never worked. The opening scene was one. It was the last scene finalised due to absences and it needed more attention. “Doesn’t anybody stay in the same place,” was a bit slow. And “Bully Boys”, though a crucial scene brilliantly realised, might have been stronger if a tad faster and losing some (not all) of the instrumental bits that chewed up some of the power of the scene.

Pat Drummond purists might say “where is Northwood Hill or Hector the Rat.” The show already ran far too long to squeeze them in, but they are mentioned in the show. As is Brothers on the Road, another great Pat Drummond song. And it broke my heart to cut “the HSC song” from the Sydney bar-room scene, but if anyone ever asks for a LONGER version, I’ll slide it in in a heart-beat!

But one last comment on gratitude.

At the end of the show I was given a present that blew me away… but I don’t know that I’ve mentioned how much it means to me. Organised by Lynda Yeadon I think (apologies if it was someone else), I received a framed poster of the show with all of the cast and crew signed down the side. It’s like one of those memorabilia pieces you’d buy (for top dollar mind you) of your favourite performer or favourite sporting team, but it was created for me.

I can’t even say that sentence without choking up. I’ve never received a gift like it.

For all the times I’ve let my worse angels steer the ship… when I’ve been encumbered by insecurity, self-doubt or paranoia… or when I have paid more attention to the negatives than the positives around me, I will NEVER forget both the support I got in making this show… that we all made together… and the symbolic representation of that in this gift.

It was my magnum opus and one of the greatest moments of my life.

I hope this show lives on. I think it’s good enough. I hope you like it.