Driftwood is a musical that feels unique in many ways. In large part, this is due to the story, which focusses on Slawa and Karl Duldig’s journey to Australia through the time of the Holocaust and the unique struggles that they faced as well as the success of their daughter Eva de Jong-Duldig, who went on to become a top Australian tennis player and author. But in other ways, the story has a universality about it, acting as an allegory for the many different migrant experiences to Australia and the struggles they faced. It is in this universality that the musical feels particularly poignant. 

The musical is an original Australian work, based on the text of Eva’s memoir Driftwood and was adapted to the stage by a writing team that included Eva’s daughter Tania de Jong AM. Immediately, one of the most striking things about the musical is its cohesion as a work. The musical plays with temporality most effectively but also flows seamlessly from one moment to another, meaning the story can be followed with ease. The graphics behind the stage also assist with these transitions as do the changes in set. 

One of the most effective moments in the whole musical involves a camera shot on stage which melds seamlessly into a photo on the back wall, which highlights the autobiographical nature of the story and heightens its poignancy and emotional impact. For this, set designer Jacob Battista must also be commended for his fabulous work in bringing this production to life through the blending of archival footage with on-stage work.  

The text of the play is incredibly powerful, highlighting the difficulties that the Duldig family faced in leaving their home and migrating to Australia. Anton Berezin’s portrayal of Karl is a particular highlight in this regard as he perfectly encapsulates the tension of the family and the inner torment that his character feels in leaving them behind. But the acting of the whole cast (Tania de Jong, Bridget Costello, Michaela Burger and Nelson Gardner) is superb and really gives emotional weight and power to the story throughout.

One of the things I found slightly confusing was the use of accents throughout the musical. I suspect the aim was to show the family’s progression from Vienna to Australia but the lack of consistency, even in the earlier time period, was a bit puzzling. While I’m sure it was a directorial choice, I think that this could have been simplified. 

Overall, Gary Abrahams’ direction was fabulous though, He found a way to connect with the story of one remarkable family and turn it into a universal story of the power of the human spirit. With source material that is so specific, this is especially commendable and goes a long way to the success of the show. 

For all the compliments about the cohesiveness and flow of the play, the music at times did not possess the same cohesiveness. While Anthony Barnhill’s score is whimsical and clever, the genres of music traversed do make it, at times, hard to follow. Perhaps, this was necessary to deal with the different types of voices on the stage, but it did make meaningful connection slightly challenging. That said, the performances of the score by Barnhill, Michele O’Young and Rachel Valentine were excellent and enhanced the atmosphere of the performance. 

This is an excellent musical that is both powerful and poignant. Its construction is masterful and the story is incredible. I hope this production continues to grow as it really does deserve a strong platform to launch its powerful message. In the words of director Abrahams this is a story of “hope, perseverance and unrelenting determination… It is good to be reminded that at one time Australia was generous and welcoming of those desperately in need of a safe home. If only that was as true now as it was then…”

Rating: ★★★★ 1/2

Driftwood plays at the Eternity Playhouse until 18^th June. For tickets, click here.

Photo: Cameron Grant