The Old Fitz Theatre space is perhaps one of the most transformative in the independent theatre scene in Sydney. With it quite literally being a black box, it can become whatever a production needs it to be. But one thing that it is notoriously a challenge to transform the space into, is one that can deliver a musical. The acoustics and density of the space mean you need a balance between the voice and the orchestrals and the tight space is limited for choreography. In short, it’s a real obstacle before you’ve even started.
It’s with a great sigh of relief then to say that the world premiere of the new Australian hyperpop musical A Transgender Woman on the Internet, Crying overcomes this obstacle with ease – serving a whole heap of c*nt along the way.
What type of show is A Transgender Woman on the Internet, Crying?
The rise of the influencer – both as a noun and as a career – has dominated the online world over the past few years. Now, anyone with a camera and an opinion can be the next “influencer”. All you need is to find your niche. But what does being an “influencer” actually mean? Is it a two-way relationship between audience and self, or are influencers puppeted and built by the audience that grants them fame and clout?
For Avis O’Hara (Cassie Hamilton), AKA @theDIYDoll, she is the latter. The most fabulous and famous trans influencer on the internet, her relationship with her followers – coined The Dollmakers – is founded on allowing them to physically build her into the most “acceptable” embodiment of a trans woman. In other words, a socially acceptable, “normal” looking Barbie doll of a woman that even JK Rowling could get on board with.
On the other side of the influencer world, Corrin Verbeck (Blake Appelqvist), a left-tube vlogger and their friends in the trans community have had enough of Avis’ pandering to the comphet influences of their world. Together, they plan to expose her as a fraud – a bio-essentialist traitor. But the one thing that Corrin did not expect, was to fall in love.
With a book, music and lyrics by Hamilton, ATWOTIC takes the recognisable lovers-to-enemies-to-lovers storyline of musicals and infuses it with hyperpop grunge, chronically online lingo, and a bucketful of heart. The overall romance may be part of an established formula, but it’s safe to say you won’t see anything else like this on Australian stages currently.
Who are the cast and crew of A Transgender Woman on the Internet, Crying?
Direction by Jean Tong ensures that ATWOTIC knows exactly what it is. It has a raging voice within Hamilton’s music and lyrics and it’s not afraid to show it. It’s also unabashed to be joyfully silly, leaning into jokes that audiences on all sides of the political spectrum can have a chuckle at. Sure, there’s niche material in there that only the chronically online may understand, but you’re not left out in the cold for too long before Hamilton drops a sick beat and you're swept up in the story again.
With Lillian Hearne on music direction, there is a grungy, tangible aesthetic to the hyperpop, and the music and lyrics aren’t left battling for your attention, mostly. Em-Jay Dwyer’s sound design feels aptly balanced, utilising the thick, brick walls throughout to blast and lower the music as required. It’s not 100 per cent perfect, but within the space they’re performing in, you have to give them respect.
Ruby Jenkins’ set design utilises the bare space effectively with a discordant variety of spray-painted emojis, tags and graffiti around the walls. A set of DJ decks acts as speakers as well as a wall for the actors to disappear behind throughout, giving the space dimension and malleability. The scattered LED-lit speakers that feel embedded into the brick work are a nice touch.
The co-lighting design by Rachel Lee and Nick Moloney, incorporates mainstage musical qualities into the intimacy of the Old Fitz’s space. Revolving LEDS, blackouts, and scattered strobes enhance Dan Ham’s intricately tight choreography. The dance pieces are fiery and fierce, incorporating recognisable viral trends, and drag queen aesthetics resulting in a bunch of gyrating, hip thrusting, and rubbery arm folding. It gets the crowd roaring.
Hamilton and Appelqvist are an electric pairing as the enemies-to-lovers at the centre of ATWOTIC. Hamilton knows the piece inside and out (duh!), and it's this familiarity that keeps everything on track, and particularly impresses with a gorgeous range of tone. In a recent episode of Ratbag with Mel & Sam, Hamilton spoke about how modern and classic musicals aren’t structured for a trans voice, and talks about her creative process in creating a score that would.
Appelqvist is themself no stranger to the musical genre. A seasoned performer, you may have seen them in the original staging of The Lovers at Bell Shakespeare, or as Romeo in & Juliet. Within the comparatively smaller space of the Fitz, Appelqvist’s energy and siren-like vocals are heightened tenfold. With the skill to create believable chemistry with whomever they act opposite, they also give depth and emotional torment to Corrin as they explore the fragile layers beneath Avis’ facade.
Rounding out the quartet, Rosie Rai, and Teo Vergara embody their own sensibilities in the overarching discussion of trans inclusivity and visibility. Vergara especially chews every single moment they have in the spotlight, leaving no crumbs behind.
Why is A Transgender Woman on the Internet, Crying a 4-star production?
What I found I grew particularly fond of within ATWOTIC was that I learned a lot beneath the electric hyperpop. The notion that transgender people can also be transphobic is an interesting premise for Hamilton to explore, and she unpacks this with care and tenderness, understanding and empathy, always. The exploration around the “right kind of trans” is a fascinating discussion and where it circles back to is not only educational, but also quite profound.
I would like to see ATWOTIC again in a larger venue where the sound systems have a better chance to sit underneath and enhance the performers’ voices. You could see that Appelqvist wanted to belt but kept themself restrained (without losing quality or tone which is in itself a talent) to keep inside the acoustics. And in some of the more tech-heavy dance numbers, the vocals and lyrics tend to get lost. The script is so tightly written you really do want to hear them!
Who will like A Transgender Woman on the Internet, Crying?
ATWOTIC most definitely falls into the category of a musical to take a chance on. It’s filled with enough gusto and soul to please a range of audiences and most of all, it knows what it wants to say. If nothing else, you’ll leave the theatre with a renewed feeling of joy and empathy, and that’s precisely what we need more of in the world right now.
Get your tickets here.
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