In a remarkable reimagining of a classic Australian play, Simon Burke is stepping into the iconic role of Robert O’Brien in The Elocution of Benjamin Franklin. The production, which runs until March 29, 2026, at the Downstairs Theatre in Belvoir, marks the 50th anniversary of this groundbreaking work originally written by Steve J. Spears when he was just 23 years old.
Burke’s journey to this significant role began many years ago. As a young actor, he once questioned why he had not been cast in a production featuring a poster of a young boy smoking a cigarette. He had recently performed in Nimrod’s Kookaburra and portrayed a prince in Richard III. Little did he know, the original production of The Elocution of Benjamin Franklin required only one middle-aged male character, played by the esteemed Gordon Chater in its 1976 premiere.
Director’s Vision and Cultural Significance
Today, Burke portrays O’Brien, an elocution teacher navigating the complexities of being a closeted gay man and transvestite during a time when homosexuality was illegal in Australia. Declan Greene, artistic director of the Griffin Theatre Company, is directing this revival. He notes the renewed sense of danger for queer individuals today, stating, “It felt a really interesting time to pick up the play and re-examine it.” Greene also contextualizes the play within a vibrant cultural moment in Australia, referencing other significant works from the period, including The Rocky Horror Show and the music of Skyhooks.
Both Burke and Greene regard O’Brien as one of the greatest roles in Australian theatre. Burke enthusiastically highlights the surprise of the play being authored by a young heterosexual man, saying, “In terms of the experience of the life that he’s investigating and portraying, every line is filled with so much possibility.” He likens the writing to Wolfgang Amadeus Mozart composing symphonies at an early age.
Preparing for the Role
This role represents Burke’s largest challenge to date, requiring him to adjust his rehearsal habits. Traditionally, he prefers to come to rehearsals with the script in hand to avoid preconceiving the collaborative process. “I usually carry a script until the fourth week. Even if I know my lines, it’s some kind of security blanket,” he explains. Realizing the demands of the role, he committed himself to extensive study, forgoing festivities on Christmas Eve and New Year’s Eve to master the script.
Burke and Greene have engaged in a collaborative creative process, including developing backstories for the unseen characters O’Brien interacts with. Greene expressed his enthusiasm for the play, which he has cherished since adolescence. After previously collaborating with Burke in 2017, he recognized Burke’s talent and charisma as vital for tackling such a complex role. The idea to stage this production was solidified when Greene realized the timing coincided with the play’s 50th anniversary during Griffin’s residency at Belvoir.
As the curtain rises on this production, audiences can expect a poignant exploration of identity and societal constraints, all framed within the engaging narrative crafted by a young playwright half a century ago. The Elocution of Benjamin Franklin promises to be a significant event in Australian theatre, one that not only celebrates its rich history but also resonates with contemporary issues.
