STELLA, at Alexander Theatre, Monash University

A prolific, iconic writer and feminist who lived life on her terms, Miles Franklin (14th October, 1879 – 19^th September, 1954) is best known for her auspicious debut, My Brilliant Career.

Her legacy lives on through her published works and with the announcement of the annual Miles Franklin Literary Award to a novel of literary merit on Australian life.

In quick succession, we have seen two original musical works about Franklin’s life and times, her hopes and dreams. 

Photos by Ben Fon

First, there was the award-winning MTC production My Brilliant Career, based on Franklin’s book of the same name, featuring a bravura showing by Kala Gare.

And now, this new musical STELLA, with book, music and lyrics by Monique diMattina.

The title is drawn from the Franklin’s full name, Stella Maria Sarah Miles Franklin.

Much of Act I covers the same ground as was dealt with in the musical My Brilliant Career, although there are some narrative differences and an original score.

Brought up on a farm with her younger sister Linda (Shubshri Kandiah) and brother Norman (Kaya Byrne), Miles (Geraldine Hakewill) was a restless child who longed to make her mark on the world.

She didn’t run with the pack, wasn’t made for farm work, regularly butted heads with her mother (Johanna Allen) and saw her father (Joe Kosky) drown the family’s financial difficulties in a bottle.

At every available opportunity, she wrote down her thoughts and feelings, which translated into the quintessential Aussie novel My Brilliant Career.

The book highlighted the struggles of protagonist Sybylla Melvyn to free herself from the constraints of 19^th century rural life.

Ironically, no Australian publisher approached would touch it.

But it was a letter that a young Miles wrote to poet Henry Lawson that saw Scottish publisher Lockwood & Sons take it on.

Miles was 21 years old at that time, but the bulk of her writing of My Brilliant Career was undertaken between the ages of 16 and 19.

While lauded more broadly, the close, scathing references to family didn’t go down well where she lived on a drought-stricken dairy farm near Goulburn, in NSW.

Her notoriety from the novel was short-lived and money certainly didn’t flow her way.

She rejected romantic overtures (she wasn’t interested in marrying) and tied herself to outspoken feminist and campaigner for equal rights Vida Goldstein (Shubshri Kandiah). 

Moving overseas, Franklin’s literary output continued to face rejection, until she published under a male pseudonym.

Then, before she died, her work was finally recognised for its quality.

Still, she had spent a great deal of her life distancing herself from family.

All that and more is revealed in STELLA. 

Having seen the musical My Brilliant Career twice relatively recently what resonated most for me was Act II, which was decidedly different.

There is one particularly touching scene towards the end that had my eyes welling.

STELLA weaves a potent tale of self-determination from start to finish.

Ably led by Geraldine Hakewill as Miles, the performances of the five strong cast who fill 45 roles are noteworthy.

Most significant is Hakewell as the headstrong Miles and Shubshri Kandiah as her empathetic sister Linda and the driven Vida Goldstein. 

So, too, Kaya Byrne as Miles’ brother Norman, whose gentle approach gives way to a ferocity of intent in Act II. Byrne doubles as Miles’ patient love interest, Edwin.

Johanna Allen has a fierceness about her as Miles’ mother and pride as Miles’ fellow writer Mary Gilmore, for whom Miles didn’t have the highest regard.

Joe Kosky realises the diverse sides of Miles’ father’s character and brings that to bear.

The emotive score is rich and lyrical. 

It is beautifully realised by a six-piece orchestra positioned either side of a semi-circular stage, under the baton of musical director Vicky Jacobs.

Embedding distant mountains and a metaphor for torn paper, the highly creative staging features scattered period wooden furniture, chairs, tables and cupboard.

It is the fine work of set designer Nick Fry.

A surfeit of quick-change costuming, the conceit of Isla Shaw, well reflects the era. 

With a series of striking moments, include a war scene to open Act II, the lighting design by Sidney Younger sets the tone.

Also impressive is the clarity of the sound design by David Letch.

Director Julia Robertson brings out the pain and passion of a renowned Australian who dared to be different, thumbing her nose at those that dared to try to tame her.

STELLA presents as a rocky journey well worth taking. 

Two and a half hours, including interval, STELLA is on at Alexander Theatre at Monash University until 20^th June, 2026.