When I heard that Maverick Newman and Kohan van Sambeeck had created a new Australian musical based around Australian Rules Football, I was immediately intrigued. I don’t have any interest in the sport but knowing it centred on a fictional closeted player (and to date there has never been an openly gay player in men’s AFL), it sounded like a bold subject for theatre.
One Day In September tells the story of new Melbourne Bears recruit Sam Thompson (Keanu Gonzalez) struggling to keep his relationship with Jesse (Yashith Fernado) secret from the press (Nick Simpson-Deeks) and teammates Nathan (Des Flanagan), TJ (Joshua Russell), Jimmy (Lachlan Beck), Damo (David Duketis) and Harry (Axel Duffy). Things get complicated when Sam gets up with wannabee influencer Sophie Parker (Lorinda May Merrypor).
At its core though, One Day In September is about how keeping secrets can negatively affects one’s life and career. The musical reminded me the most of Bare: The Musical which tells of two closeted male students at a religious school. Although Bare has a more impactful conclusion with a lot more going on, One Day In September is an important story that needs to be told. AFL players should be free to come out without public scrutiny.
But sometimes this message got muddled, like in Okay, Fine, which sees the WAGS struggling to connect with their partners. Although it was one of my favourite numbers (it reminded me of Pete Denahy’s Sort Of Dunno Nothin’), it contextually added nothing.
It’s a minor complaint but one worth mentioning. Once Sophie discovers Sam with Jesse, the musical has little area to move. Sam wants to be with Jesse but is scared to come out. Jesse wants to be with Sam but doesn’t want to hide. Sophie doesn’t want to keep living a lie. They fight, they argue and then nothing is resolved.
You understand the characters motivations but it’s frustrating. But then again, maybe that’s the point. It’s frustrating for the characters and the audience too. But I wanted more.
Other plot points are introduced but have little impact, such as Jimmy’s drug habits or living out one’s dreams in Someday. Even the resolution between Sam and Sophie feels incomplete.
The relationship between Sam and his dad ends well but the tension isn’t set up why. My guess is that his mother encouraged his football career, but her death put strain between them, but it isn’t completely made clear. The most fleshed out couple is Maya (Ashleigh Rubenach) and Nathan.
One Day In September could be brilliant, but it isn’t yet. I took my homophobic father with me to the theatre and his mention of “a couple of poofters” is exactly the problem. I think if the musical was more impactful, it has potential to change even his mind of toxic masculinity and male bravado.
Where the musical does excel, however, is in its choreography. Mackenzie Dunn (and Gonzalez as associate choreographer) has created something sleek, energetic, clever and masculine. A true stand out is Gonzalez’s solo dance routine White Line Fever.
The script itself is sharp, dramatic and funny, and the music is good too, backed by piano/conductor (van Sambeeck), guitar (Dave Ellis), bass (Anthony Chircop) and drums (Dave Beck). I particularly enjoyed Hey Girl, Unbreakable and again, Okay, Fine.
There’s a lot to like in One Day In September and considering most of the shows were sold out, it’s clear that audiences want original Australian-made shows. It could come down to my dislike for sport but either way I’d like to see a fully produced season.
Follow One Day In September on Instagram here.
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Photo by Matthew Chan
TINSEL and TAP SHOES 