It’s hard to imagine how a memoir spanning Maxine Beneba Clarke’s formative years could translate from page to stage. Yet, in the very capable hands of Beneba Clarke herself, alongside her creative team, this theatrical adaptation of The Hate Race not only taps into what’s so special about the source material but also stands as a powerful piece of storytelling in its own right.
From the lighter moments of sneaking treats into your mum’s shopping cart to the raw reality of microaggressions and outright aggression, this production delves into the nuances of growing up diasporic in Australia. While you might expect a tender exploration of human connection and the struggle to fit in and more pertinently to survive, what takes you by surprise is the humour that springs from this truly joyful production.
Zoë Rouse’s simplistic set with the psychedelia of the ‘70s and ‘80s is the perfect backdrop for this one-person show that unfolds with all the richness of Afro-Caribbean tradition, blending poetry, ’90s music, sound effects and dance. Zahra Newman (The Book of Mormon, Wake in Fright and the audiobook version of The Hate Race), plays young Beneba Clarke with playfulness and vulnerability. Newman morphs into a multitude of characters, whipping from schoolyard bullies to her actress mother and brash PE teacher. You’ll clock this change not only by the flick of her accent, but in the actor’s physicality and facial transformations.
Under the expert co-direction of Tariro Mavondo and Courtney Stewart and dramaturgy by Declan Greene, the scene transitions are seamless, allowing the play to flow with a rhythmic energy that peters only at close of curtain. Though the play’s pacing feels slightly rushed towards the end, with the themes wrapped within a spoken word number and dub reggae track, the entertainment factor and lyrics outweigh the need for a drawn-out conclusion. Kuda Mapeza’s live sound effects and vocals add a layer of depth to the production, while Beneba Clarke’s spoken word poetry background infuses both intellect and emotion (audiences will no doubt be clicking her transatlantic slave trade TED talk for weeks).
It’s difficult to pinpoint a standout scene in a production so fluid and dynamic, but the bike scene, with the coming together of lighting (Rachel Lee), choreography and cool sound design (Dan West) stands out as a poignant representation of how joy and fun can quickly shift to terror within a world (still) rife with racism.
Themes aside, what resonates with audiences in this adaptation is its ability to capture the essence of growing up in Australia. There’s plenty of ’80s nostalgia in light-washed denim and high-tops, John Farnham references, cabbage patch dolls and rainbow paddle pops. It’s also through the ordinariness of family dynamics and childish antics that the production balances joy, humour and pain.
Ultimately, this play does what great art should do – it invites you to think, to laugh and as Beneba Clarke says, to carry the story forward.
The Hate Race is playing at the Malthouse Theatre's Beckett Theatre until March 17. Tickets range from $20-68 and are available here.