Reg Livermore’s Ned Kelly: The Musical occupies an interesting place in Australian theatre history. First staged in 1977, it defied expectations by turning one of the nation’s most enduring legends into an exuberant blend of satire, vaudeville, rock musical and political commentary.
Nearly fifty years on, Victorian Opera’s spirited revival proves that Livermore’s audacious vision has lost none of its bite, while revealing just how prescient its examination of national identity, rebellion and myth-making remains.
With book and lyrics by Reg Livermore AO, music by Patrick Flynn and additional music and orchestrations by Simon Holt, this new production embraces the work’s wonderfully eclectic personality rather than attempting to modernise or tame it.
Director Stuart Maunder understands that Ned Kelly: The Musical succeeds not by striving for historical realism but by celebrating theatricality in all its outrageous forms. His production moves with confidence through broad comedy, pointed satire and moments of surprising sincerity, allowing each to complement rather than undermine the other.
For those familiar with Livermore’s work, there are unmistakable echoes of his iconic Betty Blokk-Buster. That same irreverent spirit infuses the production, balancing broad caricature with a thoughtful exploration of Australia’s enduring fascination with the Kelly legend.
Ethan Jones makes a compelling Ned Kelly, capturing both the youthful swagger and growing burden of a man transformed into legend. His strong vocal performance is matched by an engaging stage presence that ensures Ned remains the emotional centre of the often wildly theatrical proceedings.
Maria Mercedes is magnificent as Ma Kelly, bringing formidable strength, earthy humour and genuine emotional weight to the family matriarch. Her moving rendition of Die Like A Kelly stands among the production’s finest musical moments, combining warmth, resilience and quiet heartbreak.
Robert Grubb is a delight as Superintendent Hare, relishing every opportunity for comic pomposity without reducing the character to mere parody. Rohan Campbell delivers a thoughtful Aaron Sherritt, while Liam Head, Darcy Wain and Luke London work seamlessly as Joe Byrne, Steve Hart and Dan Kelly, creating an engaging camaraderie among the Kelly Gang.
Chelsea Dawson brings warmth and quiet resilience to Kate Kelly, while Douglas Kelly impresses in the contrasting roles of Sergeant Fitzpatrick and Edwin Living. Sally Bourne, Rachael Joyce, Bailey Montgomerie and Darcy Carroll all contribute strongly to an exceptionally well-balanced ensemble.
Adding an extra layer of delight is Livermore himself, whose cameo appearance as Mr Tarleton, the Bank Manager, is warmly received and serves as a fitting reminder of the extraordinary artist behind the work.
Nicole Melloy’s choreography complements the show’s restless energy, moving comfortably between music hall, vaudeville and contemporary musical theatre without feeling stylistically disjointed. The movement always serves the storytelling, helping to maintain the production’s buoyant pace.
Musically, Simon Holt draws vibrant playing from the ten-piece chamber orchestra. Flynn’s score traverses an extraordinary range of musical styles, from rousing ensemble numbers to lyrical ballads, while Holt’s additional orchestrations give the relatively modest ensemble a remarkably full and colourful sound. The orchestra responds with precision and enthusiasm, supporting the singers without ever overwhelming them.
Among the score’s highlights is Blood of the Irish, an inventive reworking of the patriotic English song The Roast Beef of Old England into a celebration of Irish identity and defiance, reflecting Livermore’s ability to blend humour with pointed social commentary, exposing the cultural and political tensions beneath colonial Australia’s foundations.
Harry Gill’s inventive set and costume designs capture the musical’s playful theatricality while allowing the action to flow effortlessly between locations. Gavan Swift’s lighting provides striking visual atmosphere, shifting comfortably from intimate dramatic moments to exuberant theatrical spectacle, while Samuel Moxham’s sound design ensures both dialogue and Flynn’s richly varied score remain consistently clear.
What perhaps surprises most is how contemporary the work feels. Beneath the comedy and camp theatricality lies a sharp examination of power, prejudice, media myth-making and the stories nations choose to tell about themselves. Livermore never seeks to canonise Ned Kelly, nor to condemn him outright. Instead, he asks audiences to consider why the legend continues to resonate and what it reveals about Australia’s evolving identity.
Reg Livermore’s Ned Kelly: The Musical
Union Theatre – The University of Melbourne, 15 Monash Road, Melbourne
Performance: Friday 24 July 2026 (preview performance)
Season: 24 – 25 July 2026
Information: www.victorianopera.com.au
Images: Ethan Jones – photo by Jeff Busby | Luke London, Liam Head, Ethan Jones and Darcy Wain – photo by Casey Horsfield | Maria Mercedes and Ethan Jones – photo by Jeff Busby | Reg Livermore and Douglas Kelly – photo by Jeff Busby | Ethan Jones – photo by Jeff Busby | The Company of Reg Livermore’s Ned Kelly The Musical – photos by Jeff Busby
Review: Rohan Shearn