Venue: Old 505 Theatre (Newtown NSW), Jul 4 – 15, 2017
Playwright: Phillip Kavanagh
Director: Dominic Mercer
Cast: Lucy Goleby, Brandon McClelland
Image by Kate Williams
Elle and Steve are moving houses, because they have convinced themselves that their Middle Eastern neighbour is a terrorist. Little Borders by Phillip Kavanagh, is about the paranoid, fearful and narcissistic people that many of us have become, in a confused world that has us believe that things will go wrong in an instant, and that other people are to blame.
The young couple is bestowed every social and economic privilege that could give them the best opportunity at a comfortable existence, yet they are full of volatility and hostility, obsessed with the idea that their lives are going to fall apart at any given moment. Their self-destructive behaviour is depicted with biting astuteness by Kavanagh, who reveals the insidious nature of hate in our contemporary communities.
The production is suitably dark, if slightly too predictable in its despair. The important messages of Little Borders are given remarkable elucidation by director Dominic Mercer, and we leave shaken by our disastrous reflection, but the show has a tendency to feel too safe and slightly unambitious in its interpretations of Kavanagh’s bold writing. We sense that the words provide room for a greater theatricality, although its minimalism is nonetheless effective, and beautifully executed. Set design by Charlie Edward Davis and Jeremy Allen, is understated but charming, and undeniably memorable.
Actors Lucy Goleby and Brandon McClelland prove themselves to be highly accomplished in the piece. Goleby’s intensity, although quiet and contained, is a captivating study of Elle, a woman gripped by insecurity and irrational anxiety. She keeps us inquisitive, and terrified, by her authentic manifestation of a person that we sometimes find ourselves being. McClelland is a charismatic presence, with immaculate hair and perfect teeth providing disguise for a character that has no redeeming features. His juxtaposition of clean cut suburban wellness against the pure evil of Steve’s words and actions, is chilling, and perversely entertaining.
It is a frightening look at the psyche of our worst neighbours. The play resonates with an alarming accuracy, even though the events that unfold are very dramatic and extreme. It is truthful in what it says about modern life; the interminable feeling of inadequacy, and the need to infringe upon the lives of others, as we proceed to suppress everything that we have no understanding of. We are not told however, how it is that Elle and Steve have become such monsters; Kavanagh’s deliberate omission is provocative. We should really know those reasons for ourselves. These are our middle class lives, and we know these people. All the evidence that would explain their madness must already be in plain sight, if we choose to examine it.