Venue: Eternity Playhouse (Darlinghurst NSW), Sep 15 – Oct 15, 2017
Playwright: Julian Larnach
Director: Luke Rogers
Cast: Anni Finsterer, Elizabeth Nabben
Image by Philip Erbacher
Although a completely natural state of being, we think of emptiness as a kind of malady. It is that sense of lack, that so often drives us to action. At our best, we are productive and inspired, but at our worst, it is our decisions that can cause unimaginable harm. In Julian Larnach’s In Real Life, we meet Theresa, a highly successful entrepreneur and innovator, whose own emptiness moves her to create two entities that define her life. Her invention Drum is a technological device that has captivated the world and is used by 2 billion people. Eva, her daughter, is the other source of pride.
The play deals with the dichotomy of organic versus synthetic, and the increasing conflation of the two in today’s lives. It explores our fears of technology, as innumerable others have, but provides space for its audience to determine independently, the morality, of its characters and of its narrative, within which we are inexorable participants. Larnach’s work is valuable in its timeliness, as it is vitally important that we discuss phenomena as they occur, but its concepts, although pertinent, are not always presented with sufficient salience, to be effectively engaging.
The two actors however, provide clear commentary on motivations and emotions represented by each character. Anni Finsterer is operatic in approach, telling Theresa’s story with great panache. We recognise all her psychological states, and the plot is made satisfying as a consequence, but it is a relentlessly intense performance that can seem deficient in authenticity. Elizabeth Nabben plays Eva, along with a host of secondary characters, demonstrating excellent focus and versatility. The two-hander is directed by Luke Rogers, who ensures that a sense of theatricality always accompanies the show’s intellectual interests. It is a well designed production, if slightly too literally rendered, with Sian James-Holland’s lights proving memorable in their playful liveliness.
Theresa constantly reaches outside of herself to seek answers for her anxieties. Even though there is no denying the greatness she has achieved, it is the profound sorrow of which she is architect, that remains. That singular desire, arising from an ineffable emptiness, has delivered both the best and worst of her existence. It is true, that our choices are good and bad. Regrettable decisions should be regarded as such, so that errors are not repeated. Regret, and disappointment, are crucial to how a person grows. Perhaps this is also how we can view our relationship with technology. Movement is inevitable, but trajectory and velocity can always be manipulated, in accordance with the lessons we learn.