“I will not be  lectured about sexism and misogyny by this man. I will not. Not now, not ever.” Then prime minister Julia Gillard’s words echoed around the mostly male parliament in 2012. That phrase from the 15-minute impassioned monologue has since become a cultural touchstone in Australian politics.

Now Julia, which was a sold-out success when it premiered in Canberra and Sydney in 2023, brings Adelaide audiences the human story behind the famous speech.

Justine Clarke – who viewers fell in love with through quintessentially Aussie dramas from Home and Away to RFDS, and who cemented herself as a stage powerhouse in Girls & Boys is the titular Julia in writer Joanna Murray-Smith’s play, which combines excerpts from Gillard’s actual speech with her imagined inner life.

Here, Clarke shares with InReview her terror at inhabiting the role first time round, how it’s a gift to bring the production to Adelaide, and her views on local theatre audiences.

What did Julia Gillard’s famous misogyny speech mean at the time for you? Many people say it’s one of those “remember where you were at the time” moments – can you recall where you were?

I was in the flow of parenthood with two in primary school and the eldest in his first year of high school, so I wasn’t watching Question Time. I had watched my fair share of Question Time previously and when I heard the clip – possibly that night – it had a distinctly different and somewhat recognisable and relatable tone.

I felt relieved that she had finally found a forum to speak out about the sexism she had endured for so long. And I remember thinking how articulate and powerfully executed the speech was.

Did you have any preconceived ideas about Julia that were changed after inhabiting her character? What was your most fascinating discovery about our first – and only –  female prime minister?

I knew she had a great sense of humour and I knew she was resilient, but she has surprised me by just how funny and resilient she is. She has genuinely moved on and continued to create meaningful work with the GIWL (Global Institute for Women’s Leadership), giving a voice to the next generations of female leaders. The saddest thing I learned was the speech didn’t stop the misogyny towards her. It continued right until the end.

How did you go about becoming Julia? What was your preparation to embody her without it being a parody?

I felt so strongly that, because she was the first female prime minister in this country, her story became all of our story. Also, we can’t know what she was thinking. Joanna Murray-Smith has beautifully imagined her deep inner life, and I felt that meant there was more room for those thoughts to belong to more people than just one character.

I read that in the preparation for the first season, you developed a neat party trick – reciting the speech word for word. Was it received well?

I have never been asked! (I was joking. My previous party trick was a hip-hop body roll so I’ve moved up in the world!) But I wouldn’t be the only one who knows the speech. I’ve met plenty of young women who can recite it word for word. It’s anthemic, rhythmic and very powerful. It’s received with a heartfelt round of applause at every show. There are a lot of people who have never heard the whole speech and/or may have missed the context of the politics of the day.

Justine Clarke during rehearsals ahead of the Sydney season of Julia. Photo: Prudence Upton

What are the challenges of portraying a real-life person, who’s still alive, in a production?

Absolute terror? But seriously, I think you can only work with what you have as an actor. So, I watched, and listened, and read as much as I could. And then I let go and play. I also had the most wonderful voice coach (Jennifer White), who was rigorous with me! We found such beauty in her [Gillard’s] accent.

You also transform into several other characters – from her Welsh father John to former prime minister Tony Abbott – have you always had an ear and knack for accents?

I’ve always loved the challenge of an accent, and since I was a kid have loved to mimic. It’s the challenge of changing the shapes your mouth makes to create sound. Welsh is a particularly difficult, but beautiful, accent.

Is there a favourite moment for you in the production? Conversely, what would you list as your most challenging moment?

I wouldn’t want to spoil it so I would say come along and make your own decision about that, but I love every single show. Generally speaking, it’s probably the audience response. There are audible gasps and groans as people are reminded of the brutality of the media toward her and reminded of her achievements, which always seemed to be drowned out by the leaking, the press and the politics.

The role of the media is highlighted – have you experienced even a modicum of the vitriol that was spouted at and about Julia?

Not really, but I think that’s because I have tried to conform in order to not be singled out. The standards are so high, I don’t even bother competing now.

The play raises the question of how much progress has actually been made in the decade since Gillard was PM. Do you feel we as a nation have actually made any?

I definitely think so. There are so many more women in Parliament now, and women are more supported to speak out thanks to Julia and the #metoo movement.

How did you feel hearing that the show was to tour the country? Has it been relatively easy to step back into the role?

It is a privilege to have another go at a role; to go deeper and be a bit freer. You’re less reverential about it because you know it’s worked before. It’s a gift!

You also performed in Adelaide with the one-hander Girls and Boys – which broke me and the entire audience. What are the challenges of performing largely solo on stage? What are the delights?

Well, I have a fellow actor, Jessica Bentley, who plays the young woman, on stage with me throughout this one which means it’s a team effort along with the stage manager, who calls the show, and our sound engineer. It’s quite a tight show so we all have to be very attuned to each other. I do have the bulk of the dialogue so the most important thing I can do is stay healthy. The biggest delight for me is the audience response as they bring their own history to the show.

Jessica Bentley, who plays a ‘young woman’ in Julia, during rehearsals. Photo: Prudence Upton

What are you hoping audiences take away from the show?

It feels like an atonement for us to hear this story told in 85 minutes and to be able to look back at what we ignored, how we felt, what she might have gone through privately, but to also know that in the end her time in politics was undeniably positive both for the country and most especially for women.

It’s brilliantly poetic and very funny, too. I want people to be moved and changed by theatre. Often people turn to the person next to them and start talking – that’s the most wondrous sound.

You’ve spent quite a bit in time in Adelaide over the years – what have you observed about the local audiences? And do you have some favourite spots you like to visit when you have some extended time in our city.

Adelaide audiences are very warm and well-educated and have a great appreciation for the arts. I love performing here. I think the Adelaide Central Market is world-class, so I spend most of my time there.

You’ve had a fairly hectic schedule these last few years. What’s next for you?

I’ll be straight back to Adelaide after the Sydney season of Julia at the Opera House to shoot season three of [Channel 7 TV show] RFDS. I haven’t spent much time in Adelaide in spring, so I’m looking forward to that.

State Theatre Company South Australia, in association with the University of Adelaide, will present the Sydney Theatre Company and Canberra Theatre Centre Production of Julia (directed by Sarah Goodes) at the Dunstan Playhouse from August 16-31.

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