Julia tells the story of Julia Gillard and the now-famous misogyny speech that resonated around the world, standing as one of the most powerful moments in Australian political history. The production explores the lead-up to that speech, weaving in glimpses of Gillard’s childhood and upbringing to show how these experiences shaped her path to becoming Australia’s first female Prime Minister.
The stage is relatively bare on arrival, with a series of angled frames set at the back. Initially, I assumed these would serve as projection surfaces, but the audiovisual elements instead appeared from behind them. Their true purpose became apparent as reflective surfaces, mirroring the actor throughout the performance, perhaps inviting the audience to reflect on both the story and its impact. It’s a clever and effective design choice, and set designer Mark McEntyre deserves high praise.
Lighting, designed by Marcus McShane, is thoughtfully executed throughout, enhancing the performance without ever overwhelming it.
It is a real credit to both director Mel Dodge and actor Lara Macgregor that there is not a single lull in the performance. The show is driven by strong physicality, sustained energy, and rapid-fire delivery. At times the pace borders on being too quick, but it undeniably keeps the production moving with momentum. I found myself checking my watch only once, not out of impatience, but in disappointment that the end was approaching so soon.
The play opens with a narrator reflecting on the significance of Gillard’s iconic speech before stepping back in time to examine what led to it. What finally pushed her to break her silence on sexism and deliver such a searing address?
At moments, the production feels almost like a TED Talk, informative, reflective, and sobering. It reminds us that these events did not occur in some distant era, but within this millennium, and that many of the issues explored still persist today.
This is a play that provokes a powerful emotional response, whether outrage, empathy, or deep introspection. It challenges the audience to consider how they might respond in similar circumstances. As a woman, would you have reached your breaking point? As a man, are you complicit in a system that enables such treatment?
Audible gasps and expressions of disbelief from the audience underscore the impact of hearing the real comments made about Gillard in the media. The stark contrast between her treatment and that of her male counterparts is undeniable. A comparison to Helen Clark highlights the double standards, from intrusive questions about Gillard’s partner to persistent scrutiny that no male leader would likely face.
Julia is an important and necessary piece of theatre, a voice that demands to be heard. It lingers long after the final moments, leaving the audience with much to reflect upon.
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