Lovers & Haters
Director: Aarne Neeme
Norwood Concert Hall
Thurs 6 March
Until Sat 15 March


An ode to Don Dunstan, and perfomed in the heartland of Dunstan territory, 'Lovers & Haters' is a maladjusted performance from start to end, and one which left me scrabbling to understand its inclusion in the programme for this year's Festival Of The Arts. All in all, as a play 'Lovers & Haters is ill-prepared and unbalanced, an unattractive blancmange of emotions iced with a half-baked storyline.

To start with the best aspect: Todd Macdonald as Don Dunstan is really rather good, having gone a long way toward capturing the Dunstan charisma - the flashing eyes and the expression nature of his speaking voice. He works the best with what he's been given. Otherwise the rest of the cast are supporting only, the best of them being Kevin Harrington (Deputy Premier Des Corcoran, etc) and Ming-Zhu Hii (Adele Koh).

The action kicks off in the parliament, and lo - Don is revealed, entering the chamber in those pink shorts. I don't recall the sequined pink top hat which completes the ensemble, but no matter. Thus, the single most well-remembered image of Dunstan is shown in the opening scene, and it's a true one card trick.

The problems with 'Lovers & Haters' are legion. The storyline is baffling and unrepresentative of the Dunstan era, far too much time being given to trifling matters (Tom Wren played John Ceruto who was only ever a bit player in the drama) and apart from the agreement on Aboriginal land rights the entire Dunstan era would appear to have been a policy vacuum. The 'Salisbury Affair' is a focal point, as it was, but seems an unfocussed focal point (if you follow my meaning).

Lack of focus is a problem: the play is unsure whether it wants to be a pantomime, a political drama or a hagiography. It is none of those things. Musically speaking, it is none of those things either, despite that eight or so songs sound identically 'rinky dink' music hall, and all the lyrics are pointed and bear heavily upon the cast, none of whom are adequate singers. Clearly, it is no musical either, but the scene where Don faces the impending tidal wave at Glenelg is played as pure pap.

It all seems vaguely improper.

Alex Wheaton