![]() It’s impossible not to read the ramshackle home in Cloud Street, this “continent of a house”, as a synecdoche for Australia itself. I wonder what this wash of feeling is drowning out, what it’s making invisible. ![]() Don’t get me wrong: I’m not against sentiment, but its presence often makes me wary. There’s something too about the kinds of sentiment Winton’s stories generate. Perhaps it’s simply because I’m a woman: even when women and girls are present in Winton’s stories, they always seem to me to be primarily functions of male subjectivity. That might be because even though I came here as a child, I still don’t really feel Australian. ![]() This is partly due to the show’s episodic nature, and partly the story itself – I always feel that I’m placed outside the us-ness of Winton’s narratives. It was magical and breathtaking.ĭespite these moments, I found myself largely untouched. During the key scene of this play – when Fish and Quick, crouched in a dinghy, enter a spiritual space that is both water and sky – I realised halfway through, with a start, that the entire stage floor was covered ankle-deep with water, a black, depthless expanse throwing light ripples around the stage. ![]() Over the five hours, there are some beautiful moments. It’s undeniable that Lutton orchestrates an impressive show. ![]() Guy Simon as Quick and Benjamin Oakes as Fish. ![]()
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