After the publication of her first book, young author Natalie finds herself at a crisis of authenticity. What she had thought to be a good representation of her life and times, has turned out a commercial disappointment. In the search for success, she embarks on a process of self-redefinition. Michele Lee’s Going Down is a tricky story to tell. The play begins at a point where we have to watch our protagonist cave in to societal pressures that are determined to tell her that she is inadequate. Early scenes feature a confident woman being attacked for not producing a commercially viable product in her autobiography. Although she does offer some resistance, the premise of Going Down is that society wears Natalie down, transforming her from self-assured to self-doubting. We discover that society is ultimately right in its estimation of Natalie, as her story does lead to a conclusion of greater fulfilment, yet it remains a matter of contention that a young woman’s self belief should be defeated by market forces and community.
The spirit of the writing, however, is undeniably vibrant and the production is accordingly energetic and colourful. Set and costumes by The Sisters Hayes, along with lights by Sian James-Holland, are humorous and playful, completely delightful in their interpretation of the world inhabited by a youthful Melbournite. Much of the show’s comedy is reliant on visual cues, and the creatives are certainly excellent in this regard. Music too, is incisively formulated to reflect the culture being represented. Composer and sound designer The Sweats does marvellously to tell us precisely who these characters are, and in the process keeps us invigorated and entertained.
The extraordinary Catherine Davies plays Natalie, feisty yet vulnerable, for a character memorable for her passionate full throttle approach to living life. We are convinced by all that the actor offers, whether portraying juvenile antics or deep awakenings, her performance of the role is utterly perfect. The supporting cast is also effective and very funny. They play a big range of personalities, many of whom are weird and whacky, and thoroughly amusing. Director Leticia Cáceres has put together an inventive show, charming in its quirkiness. Her ability to infuse each moment of Going Down with layers of meaning, keeps us engaged, with both our instinctual and intellectual capacities.
It is difficult however, to find Natalie’s story entirely satisfying. Maybe being an ethnic minority does prevent one from being unfettered and wholly buoyant. Natalie is not a white woman, and the play questions if she can ever write a book that is blind to race. We wonder if she can ever put race aside, or if she will forever be talking about her Asian heritage. This is an honest conundrum, one that is worthy of considerable analysis. Natalie must be regarded as autonomous, for she is a grown woman, but our relentless expectations of her as one of the tribe must influence her conceptions of autonomy. The matter is a troubling one, and it awaits further exploration.