The revival of the queer classic, The Elocution of Benjamin Franklin, has taken the stage at the Belvoir St Theatre in Sydney, featuring an outstanding performance by Simon Burke. Directed by Declan Greene, this production pays homage to the original 1976 play by Steve J Spears, which captured significant attention for its bold themes and exploration of gender identity.
The play opens with Burke embodying the character of Robert O’Brien, a 56-year-old elocution teacher. His introduction is striking, as he appears in stockings and suspenders, humorously dancing to David Bowie’s “The Jean Genie.” This provocative entrance sets the tone for a complex narrative that delves into themes of identity, societal judgment, and personal struggle. The juxtaposition of O’Brien’s flamboyant public persona and his more subdued private life is expertly portrayed, highlighting the character’s duality.
Set in O’Brien’s living room, originally located in Melbourne’s Toorak but adapted to Sydney’s Double Bay in this revival, the play captures the essence of the 1970s queer experience. O’Brien is depicted as a struggling teacher, charging $8 per half hour to help young students with speech impediments. The plot thickens when he receives a call from a Mrs. Franklin, seeking assistance for her son, Benjamin. The boy is portrayed as a precocious 12-year-old, stirring both O’Brien’s professional ambitions and personal conflicts.
As O’Brien interacts with Benjamin, he grapples with the implications of his own sexuality and the societal perceptions surrounding it. The character’s humorous yet troubling remarks, such as offering cigarettes to the young boy, underline the complexity of his situation. O’Brien’s light-hearted banter contrasts sharply with the serious accusations he faces from vigilantes in his community, who deem him a “pervert” based on his choice of clothing.
The production artfully balances comedic elements with the gravity of O’Brien’s circumstances. Greene’s direction is tight, utilizing effective lighting and sound design to enhance the emotional depth of the story. Burke’s performance showcases a remarkable range, as he shifts effortlessly between various voices and emotions, reflecting O’Brien’s internal conflicts and external pressures.
This revival is particularly relevant as it coincides with the 48th anniversary of the Sydney Mardi Gras, a celebration of LGBTQ+ rights and culture. In a time when such rights are under threat globally, the themes presented in The Elocution of Benjamin Franklin resonate deeply. The play serves as a poignant reminder of the political oppression faced by marginalized communities, paralleling other contemporary works such as Larry Kramer’s The Normal Heart, which also addresses urgent issues within the LGBTQ+ community.
The narrative takes a darker turn when O’Brien’s home is vandalized, reflecting the societal backlash against his identity. A police siren signals a pivotal moment, as O’Brien is discovered in a vulnerable state, further endangering his safety and mental health. The consequences of societal prejudice are laid bare, illustrating the severe impact of moral panics on individual lives.
While some language in the play may seem dated and potentially offensive by today’s standards, the core message remains urgent. O’Brien’s struggle against societal expectations and the threat of being labeled a child abuser echoes ongoing issues faced by the LGBTQ+ community, particularly regarding the unfounded accusations of “grooming” that have emerged in recent discourse.
In the final act, Burke delivers a gripping performance as O’Brien fights for his sanity and identity. The emotional climax leaves a lasting impact, showcasing the character’s resilience amid adversity. This production of The Elocution of Benjamin Franklin runs at the Belvoir St Theatre until March 29, 2024, inviting audiences to reflect on the timeless nature of its themes and the ongoing challenges faced by those in the LGBTQ+ community.
