[THEATRE REVIEW] ONE DAY IN SEPTEMBER @ The Athenaeum Theatre Review (2024)

Just how far has society moved forward in 2024?

We say we embrace the LGBTQIA+ community and yet not one AFL footballer has yet come out as openly gay.

Why, one should reasonably ask?

And the obvious answer remains: due the potential consequences, both on and off the field.

Oh, the shame of that … and yet that is the harsh reality.

A new Australian musical tackles this issue head on and does so with distinction.

One Day in September is sharp, energetic, funny, dramatic and, in holding up a mirror to Australia in the here and now, disturbing.

It has been a long time in the wilderness for the Bears when they recruit newcomer Sam Thompson (Keanu Gonzalez).

He proves to be an instant star, a generational talent with a big future.

With the football bandwagon come the WAGs (wives and girlfriends).

They’re the glamorous beauties who support their partners, regardless of the outcome of the matches.

Joining the former, having flown over from Perth, is Sophie Parker (Lorinda May Merrypor).

One of the lovely ladies shows her a photo of Thompson and her interest is piqued.

A date follows, which goes perfectly … and then another and so on.

All seems to be heading in the right direction for the happy new couple, until a sudden curve ball muddies the waters.

Parker catches out Thompson with a guy, namely Jesse (Yashith Fernando).

Jesse also happens to be the brother of one of the key WAGs, Maya (Ashleigh Rubenach).

Maya (in fact, everyone other than Parker) has no idea that Jesse is running around with Thompson.

Thompson implores Parker not to say anything to anyone and to keep up appearances for the outside world.

Of course, that invariably causes problems for Parker, Jesse and, ultimately, for Thompson.

There is so much more to One Day in September, involving both the footballers and the partners that support them.

I speak of the all-consuming nature of football and the impact that has on their nearest and dearest.

I reference the psychological strain on a former Brownlow medallist and club stalwart staring at retirement and an uncertain future, who is really struggling.

These are but two examples of how the musical addresses the real state of play surrounding these matters.

The piece also touches on drinking culture, drugs and smoking.

There is much to like and admire about the show, which has involved more than five years of development.

The story is engaging and readily hits the mark. In short, it resonates.

The music, courtesy of a four-piece band, conducted by musical director Kohan van Sambeeck, is ear pleasing and helps move along the narrative.

Book, music and lyrics are by Maverick Newman and Kohan van Sambeeck, with contributions by Trudy Dunn and Mackenzie Dunn.

The talent among the 14-strong cast is impressive, the vocalisation pure.

Keanu Gonzalez soars as Sam Thompson, capturing the fear of being outed.

Yashith Fernando brings emotional resonance to the role of the secret boyfriend.

Lorinda May Merrypor’s sultry and velvety tone underpins her angst at living a lie.

Nick Simpson-Deeks is a hoot as the enthusiastic and vacuous football reporter.

He also well channels the tentative nature of the star player’s father, who has an awkward and distant relationship with his son.

Ashleigh Rubenach excels as the dutiful WAG, there to pick up the pieces when Maya’s husband Nathan’s career is at the crossroads.

As the latter, Des Flanagan wrestles with the bitter pill the cards have dealt him, as his beloved club charges into Premiership contention.

Joshua Russell adopts a team first approach as empathetic captain TJ, resulting in friction with Thompson.

Among the most noteworthy elements of the production is the choreography by Mackenzie Dunn. The football dance numbers are slick, seamless and assured. Slow motion training is clever and creative.

Director Trudy Dunn is to be congratulated for bringing the best out of an entertaining and pointed offering that is right on the money.

As sorry as I am to have to say this, One Day in September is ahead of the game.

It is playing at Athenaeum Theatre 2 until 30th November, 2024 and is richly deserving of an extended return season.

Review by Alex First Photography by Matthew Chen