Gone Girls gives us a brief, if somewhat hyperbolised, look into what we were all wondering – what went on in the female bathrooms of the House of Reps during the Labor/Liberal/Labor leadership spills?
Definitely no queuing, but also some terse exchanges between the two qweens of our time – Julia Gillard and Julie Bishop.
Gone Girls capitalises on the fact that truth is often stranger than fiction. Initially, the narrative plants us firmly on the floor of the House with extracts straight from the Hansard and re-enacted in a lip-sync-battle-esque style to show the race to the top for both.
Gender is the headline – with a sobering montage of real life snippets critiquing Gillard and asking “are the tax payers paying for her tampons?”. The only thing that gives you hope is Gillar’s on stage powersuit. The use of mixed media woven within the production is relevant, contextualising and jarring.
The show is at its best when it mixes stage craft with media extracts to seamlessly portray the complicated relationship between the two women and the dynamics of what it means to be a feminist.
It loses focus when Gillard is axed (sorry, spoiler alert) and we then jump onto The Bish Bandwagon for world domination.
The individual performance of both Bishop and Gillard are strong and powerful. While there were some teething problems, both were quick on their feet to persevere through and preserve the narrative.
The guest appearances by some recognisable faces (think Hawaiian holiday) are refreshing, but other ‘faceless’ question mark figures are confusing and distracting.
Ultimately, Gone Girls is a homage on what it means to be women in power on opposing sides of parliament that is the perfect show for any #auspol buffs.