If South Australian-born Gill Hicks’ daily underground train commute in London had not been horrifically disrupted by a terrorist bomb on 7 July 2005, we may have still been able to enjoy her talents on-stage, but just not in this stunningly triumphant, funny and moving show.
Still Alive (and Kicking) shared Gill’s talents as a jazz vocalist, storyteller and visual artist – impressively complemented by the well-honed skills of Julian Ferraretto (violin and musical saw) and Dylan Paul (double bass) – to provide a truly engaging experience.
The audience’s attention was initially encouraged by the instrumentalists – the hauntingly ethereal sound of the musical saw and the deep, steady tones of the double bass – against a projected background of ambiguous white/grey shapes tumbling randomly in black space. The images then shifted to become more tangible and brighter – young children splashing in beach shallows, an adolescent girl in a field of sunflowers, a birthday cake and feet – in ballet shoes, skateboarding and balancing on a wooden beam.
Gill herself came to the stage quietly, without any ceremony, and impeccably stylish in black. Any concerns about the show being too grimly confronting or in any way maudlin were quickly dispelled by her grace, positivity, creativity and humour being at the forefront throughout, while she related anecdotes about that fateful day and her subsequent journey to heal from the injuries she sustained – including the loss of both legs below her knees and one lung – interspersed with well-chosen songs and examples of her paintings providing a vivid and changing on-stage backdrop.
An easy professional simpatico between all three performers was evident and the musical interludes were strong – from an interestingly syncopated arrangement of the Bee Gees’ disco classic ‘Staying Alive’ to powerfully expressive interpretations of several ‘jazz standards’, cleverly segued at appropriate points in the narrative.
This show was an appreciative testament to the “unconditional love” Gill experienced in the aftermath of the catastrophic incident – from fellow survivors, first responders, health professionals and others drawn into her new world – and a potent demonstration of the tenacious resilience that appears to have underpinned many of her life choices since that time, including the decision to develop and tour this show to coincide with the event’s 20th anniversary. It became clear to me that her acceptance of the changes to her body and life have become much more than merely stoic – she referred to being “re-plenished” and “re-ignited” into something new and exciting – and the palpable sense of wonder and joy about life she shared was exhilarating.
I hope the performers weren’t disappointed if this show appeared to be slightly under-subscribed for its’ only Darwin performance. My message is that it certainly ‘kicked a goal’ (actually, several) for me and others I spoke with afterwards – if it plays again anywhere near you, I recommend you grab a ticket.
Still Alive (and Kicking) was performed on the Inpex Sunset Stage on 20 August as part of Darwin Festival 2025
BY LESLEY MERRETT