For the majority of Fringe audiences, Woody Guthrie is probably a name recognised, but perhaps not exactly known. Beyond the baby boomers, Guthrie unfortunately had passed before many of us were born. His most famous song This Land Is Your Land however is familiar, and the historical context of his life is particularly of note.

This Machine Kills Fascists is a musical retrospective of Guthrie’s life from childhood to death. The small ensemble of approximately 10 to 12 performers and musicians bring to life the characters in Guthrie’s life; from his family to his wives, his collaborators and his peers. They are a tight group, with clear characters, era-appropriate costuming, and slick transitions. The production showcases Guthrie’s music with a good vocal mix and live band. It would be wonderful to highlight individual performances that stood out, but without any cast information (despite significant efforts from the Glam review team) it is difficult to do so; the male leads were particularly good vocally and as a support to the Guthrie role.

Guthrie was shaped by his time; witnessing a lynching by his father and friends in the KKK,  travelling America as a strong voice against fascism, advocating for civil rights and the rights of immigrants, fighting in world wars and a life-ending illness. He was also a flawed character with anger issues, stubbornness and womanising. Spencer Ballantine plays Guthrie with a charm and ease that holds the story together. His baby face, charming demeanour and country vocal tones allows the audience to care about his story, fire up when he is incensed and smooth over the less savoury aspects of his personality. Ballantine lifts the already strong ensemble to present a very polished piece.

David Dunn wrote and directed the piece, and the quality of his ensemble and tight writing is to be commended. Use of the small Theatre Two stage at Star Theatres is like a well-conducted traffic jam. Some stillness in the blocking, reduction of unnecessary crosses and less intricate choreography would help support the polished performances further. 

The heart of the piece, however, is communicated beautifully and lightly, clearly pointing to the parallels between Guthrie’s fight for equality and the tragic similarities of today’s issues in America. The irony that Guthrie went up against Fred Trump (Donald’s father) is not lost on the audience or the performers, and it is this that is perhaps even more tragic than Guthrie’s early demise at just 55 years old.

This is a fantastic, tight piece of American history with strong vocals and an important message. Exactly the sort of theatre that should be a part of a festival like the Fringe.