Hawke, at Chapel Off Chapel (and touring) - 70 minutes

Australia’s 23^rd Prime Minister, Robert James Lee Hawke (9^th December 1929 – 16^th  May 2019) was one of the nation’s most popular leaders.

In fact, he holds the record for the highest approval rating for an Australian PM, reaching 75 per cent in 1984.

But that doesn’t make him a saint. In fact, far from it. He was a noted drinker, smoker, gambler, carouser and womaniser.

Photos by Darren James

Noted for his healthy sexual appetite, he left his first wife, Hazel, with whom he had four children, for writer Blanche d’Alpuget.

The show’s writer and producer, Paul Kauffman, looks at the life and times of Bob Hawke after his passing, through the eyes of a clergyman.

Hawke (Peter Houghton) is in the twilight zone … in limbo, caught between heaven and hell, and it is time for his reckoning.

To help with the task, Anglican Bishop John (Mike Bishop) calls upon Hazel (Ana Mitsikas) and Blanche (Chelsea Plumley).

Even though Bob has put both through the wringer and, naturally, they don’t see eye to eye on everything, they do acknowledge Hawke’s strengths and achievements.

As Bishop John calls out Hawke, the latter is prone to using invective and vehemently defending himself and his record.

But the elephant in the room remains what happened to one of Bob’s daughters.

The script calls upon the former Prime Minister to show contrition and to turn to God.

To know whether he does, you will just have to buy a ticket to see Hawke.

In an unusual move, the work combines a fictional narrative, rooted in fact, with operatic interludes, pointing to the impressive repertoire of the fine actors engaged.

Peter Houghton impresses with his rough and tumble representation of Hawke. He also bears a strikingly similar look to the former PM and sounds like him.

Mike Bishop carries gravitas as a man of the cloth.

The music, some of which is deliberately discordant, was composed by David Pereira and is performed by cellist Zachary Connor, with Dr Edward Neeman on keys.

I was particularly taken by the choice of costuming by Adrienne Chisolm.

While the Bishop’s wardrobe is appropriate for a member of the clergy, the soft green safari suit chosen for Hawke is redolent.

Hazel is immaculately turned out in a set of pearls and a pink and white silk jacket with white skirt and shoes.

Blanche is resplendent in an elegant cream jacket, featuring golden threads and buttons, and white pants.

While the narrative is insightful (and direction by Denny Lawrence tight), I felt that in time it leant too heavily on a religious awakening.

As someone who reviews a great deal of opera, I am also far from convinced that any music – let alone an operatic score – was needed to tell the story.

Nor do I feel that artistically it added any real value.

However, if Paul Kauffman sticks with the operatic elements, even though these are sung in English, surtitles would be useful. I say that because it was often difficult to understand the language.

Still, frankly, popular music of Bob Hawke’s era would be a much better choice.

That would make Hawke (the musical play) more appealing to a potential audience.

The show will continue to evolve.