Childhood memories come to life

Di Smith, Katrina Foster, Peter Kowitz and Colin Moody. Photo: Carlita Sari

Di Smith is not new to the Australian public.

Fans know her well from her role as Dr Alex Fraser in the long-running TV series A Country Practice, Australian cinema, Charlie and Boots and Emoh Ruo, Muriel’s Wedding, Puberty Blues and most recently, her Hollywood appearance in Paramount’s The Fall Guy.

But this is only to name but a few. Her diverse and highly visible career as an actor, on both screen and stage, include working with major theatre companies such as Sydney Theatre Company, MTC, Malthouse and SATC, as well as in commercial productions and musical theatre.

Asked to name her favourite out of all these, acting, stage, TV, theatre and producing, there was no hesitation.

“It’s really easy. I performed at the Sydney Opera House in Little Night Music for the Sydney Theatre Company Charlotte. And I got in front of an orchestra, the whole production, in a beautiful park, and I got to sing with an orchestra. I simply can’t go past it.

“People ask me that question all the time, and they’re expecting me to talk about A Country Practice or about doing something on screen, which is also wonderful. But I got sing in the Opera House with an orchestra.”

Smith is now also the founder of WildThingProduction, and in collaboration with the Seymour Centre has brought the hilarious and nostalgic play Seventeen to the Reginald Theatre, after almost a decade since its Belvoir premiere.

“Seventeen explores that moment when life changes forever, and you say goodbye to the person you have been to discover the person you might become,” Smith said.

“When I saw the original production of Matt Whittet’s beautiful jewel of a comedy in 2015, I felt a palpable sense of ‘life is beautiful’, no matter where your choices may lead you. I loved it so much I bought the script on my way out and swore I would do it one day.”

And she did.

Seventeen takes place in a playground on the night after the last day of school. A group of seventeen-year-old friends get together to celebrate, get hammered, spill secrets, confess love and take a giant step into the unknown.

But in a theatrical twist, all the roles are performed by older actors who were seventeen many years ago, giving them the chance to be what is seldom asked of them anymore – to be vital, hilarious, in love and terrified of the future

The play features an all-star Australian cast that includes Katrina Foster, Di Adams Noel Hodda, Peter Kowitz, and Colin Moody. Smith is also among the actors in the play. A reviewer described her performance as Mike’s younger sister Lizzie as dynamic. bursting with youthful zeal, balancing the more intense emotions of the play by providing some necessary comedic relief in moments of heightened tension.

Katrina Foster and Di Smit. Photo: Carlita Sari

Asked where Seventeen took her back to, Smith said the cast had been sharing their memories of what they did on their last day of school.

“I can remember being pulled up by the police because we’d all been down at Wanda beach from the Sutherland Shire, and there was a traditional kind of beers and eggs and flour fight on the beach. Then we all piled in my father’s station wagon, about 10 or 11 of us, which is way too many people in a car,” she said. “The police stopped me and said: “How many people in this car?”

“I said ‘I don’t know, probably too many’.” And then he said, “How far are you going? ‘Not far’ I answered and he said ‘don’t do it again’. It’s so funny. The things that people are coming up with.”

Others shared their memories: the sound designer “just went straight out and looked for work”; the stage manager, “had to do a kind of safe graduation from school”; the choreographer? “She got into the car after sneakily going to the pub at lunchtime, and she stunk of booze and cigarettes. Her mum said, ‘been to that pub’, and she said ‘not guilty’.

“So it’s a very typical last day of school for contemporary 17 year olds.”

What they shared in common was that everyone involved really loves Matthew Whittet’s text so were all “completely in the same place”.

“Which is really great and the Seymour Centre have been so helpful,” she said. “It’s an independent production but they put us in the season which means the profit share is better – we get the theatre for nothing which is an amazing thing for a producer.

“They just really do take some risks with productions in that theatre; that’s what it’s for. There are extraordinary works not only at Seymour but in the independent theatre scene over the last couple of years and dare I say more interesting than some of the major companies and better executed which is extraordinary.”

Asked what comes next for her, her answer mirrors her love for the play.

“What’s after getting this show on the road? Beyond that I don’t know and that’s a strange thing to say because it puts me exactly in the position of the characters in a play at 17 leaving school. They don’t really know what’s next. They can make some choices, but they’ve got no idea. It’s an uncertain future.”

PLAYWRIGHT Matthew Whittet, DIRECTOR Mary-Anne Gifford, STAGE MANAGER Justice Georgopoulos DESIGNER Paris Burrows LIGHTING DESIGNER Grant Fraser CHOREOGRAPHER Sally Dashwood

Seventeen is playing at the Seymour Centre until October 19. Tuesday-Saturday at 7.30pm; Saturdays at 2pm.