Strong is the New Pretty has been long hyped by Sydney Theatre Company as one of its flagship productions for this season and with acclaimed playwright Suzie Miller at the helm, there was plenty of anticipation surrounding this latest work. In this production, Miller swaps out the courtroom for the football field, with the show centred around the introduction of the AFLW league. In addressing the structural barriers that had to be overcome, Miller focuses on the many personal challenges and obstacles the players and those advocating for the league had to face along the way in order to make this dream a reality, giving an unmistakably human flavour to what began as a corporate decision.
What is instantly noticeable about this production in the Opera House’s Drama Theatre is its rhythm, with Miller’s pacing of dialogue working really well and fitting nicely into the show’s dynamic. It feels like there is always an energy on stage and that is much appreciated, with it almost feeling rhythmic in its execution, in sync with the movement of the play and of the sport being shown on stage (I recently discussed how difficult it is to pull sport off on the stage and I think it’s a testament to how well it is executed here that this feels like sport on the stage). The chronology also works well, with the story initially being told through the eyes of the AFL’s first female commissioner, Sam Mostyn, who receives a fictionalised name here in Alison Newton, and the first female manager of the league, Jane Hooper (who is also de-identified, albeit less creatively as Jan Cooper). In these roles, Lucy Bell and Tara Morice are fantastic and really bring out the corporate side of the struggle, with passionate acting and great presence.
The rest of the characters in Edyll, Amy Hack, Amy Ingram, Amber McMahon, Nyasha Ogden and Contessa Treffone are largely the players (although the actors need to switch roles a fair bit in this show), with the show focusing on the triumph of the Adelaide Crows in winning the title in their inaugural season. Their acting is phenomenal throughout, with character and emotion shown at all points. The pacing in this show really is fantastic and is quite unique in that regard as the audience is taken along for the journey, which feels particularly concise at 80 minutes. There is also a heavily emotional element to the show with many able to identify with its themes as the story is quite a universal one despite its specific factual application.
On the night reviewed, there was quite a bit of discussion in the ‘Night with the Artists’ Q&A about the reactions of many of the players who came and saw the production on opening night. This is a testament to how well the group got the details right and the emotional poignancy of the play. That said, the intersectional element of this play could have been discussed a little bit more, especially given how integral the conversation about race is in relation to the AFL’s story (this was something that I noted recently in Prima Facie as well, but it felt a little bit more pronounced in this production).
As is always the case with Sydney Theatre Company, the production values were truly excellent, with Sarah Giles putting together a really cohesive performance as director while Craig Wilkinson’s graphics did a great job of addressing the shifting chronology and the pacing of Kelley Abbey’s choreography was fantastic. Clemence Williams and Brady Watkins’ sound design was also great and added a real sporting ambiance to the production.
Overall, this is a really interesting show which shines a light on an important chapter in Australia’s history. The performers on stage are all fantastic and the writing is clever and considered, with the pacing being a highlight of this show. The production received a richly deserved standing ovation on the night reviewed and will resonate with many and is definitely one to watch.
Rating: ★★★★1/2
Strong Is the New Pretty plays at the Sydney Opera House until 12 December. For more information, click here.
Photo credits: Prudence Upton
