Once Upon a Midnight

Lore & Background

The story centers on Kelsey Clarke, a fourteen-year-old girl afraid of germs, traffic, and even her toaster. In the Underground, monsters are also afraid because Angelica has forbidden them from terrifying children. The Tengu, Lord of the Underground, seeks the world's most frightened child to teach her to confront her fear. Kelsey, guided by an enchanted doll and a vegetarian vampire, journeys through murky swamps and haunted Ghost Roads to face her darker side and stand against Angelica.

The show was written in equal parts English and Japanese, with Australian playwright Alex Vickery-Howe working closely with Japanese translator Ken Yamamura. Yamamura noted that humor did not translate directly, requiring equivalent jokes for Japanese understanding. Vickery-Howe observed that Australian sarcasm was often taken literally, causing unintended offense. Director Catherine Fitzgerald stated in Rip It Up magazine that the show has a metaphorical base, suggesting it could be interpreted as being about the war on terror or a child's fear of being kidnapped by monsters.

Critical reception was positive. Matt Byrne gave the show four out of five stars, calling it a 'head-on mix of Japanese and English dialogue and lyrics' that 'somehow works.' Barry Lenny praised Mai Kakimoto's 'standout performance' as Nozomi and noted influences of Noh, Kabuki, Butoh, and Bunraku. Richard Flynn commended the production for its use of surtitles, saying 'All is clear enough, and very clever!'

Reader's Guide

Once Upon a Midnight is significant as a model of intercultural theatre collaboration, blending Japanese and Australian performance traditions, languages, and humor. The bilingual script, with equal parts English and Japanese, required careful translation to bridge cultural differences in comedy and sarcasm. The production involved performers and creative teams from both countries, fostering cross-cultural understanding. Journalist Ursula Beaumont noted that targeting teenage audiences with an experience that introduces 'the other' in a fun, positive way is a refreshing approach to gaining understanding of another culture. Actor Matthew Crook reflected that despite language barriers, there was always an indescribable connection between performers. The show's legacy lies in its demonstration that a bilingual, bicultural rock musical can succeed artistically and resonate with audiences, as evidenced by its positive reviews and its selection as a headline act at the OzAsia Festival. The production also incorporated elements of traditional Japanese theatre forms such as Noh, Kabuki, Butoh, and Bunraku, as noted by critic Barry Lenny.

Did You Know?

• The show features a vegetarian vampire named Damon.
• The script is bilingual, with seven Japanese and seven Australian performers.
• Director Catherine Fitzgerald suggested the show could be interpreted as being about the war on terror.
• The production used surtitles for the Japanese portions of the bilingual script.