Venue: Old 505 Theatre (Newtown NSW), Oct 2 – 13, 2018
Playwright: Liz Hobart
Director: Warwick Doddrell
Cast: Lyn Pierse, Nathalie Murray, Julia Robertson
Images by David Hooley
There are monsters walking amongst us, murderers, rapists and cannibals, who look just like everybody else, made of the same flesh and blood. Sebastian is one such monster, responsible for 17 gruesome deaths. His mother is Janice, and in Liz Hobart’s Lie With Me, we explore the impossibly difficult notion of having to come to terms, with being the woman who had birthed such an abomination into the world. Whether nature or nurture, the connections we draw between mother and son, make it an intolerable existence for Janice to have to bear.
Fractured and achronological, scenes in Lie With Me are presented like randomised shreds of memories, challenging us to make coherence out of unimaginable inhumanity. Dark, passionate and urgent, Hobart’s writing makes for engrossing, fascinating theatre. Directed by Warwick Doddrell, the staging can at times be excessively elaborate, but it proves to be an ultimately rich and rewarding experience. Lights by Sophie Pekbilimli are creative and lively, effective in giving unexpected dimension to the space. Sound is delicately managed by Ben Hinchley, who deftly maintains intensity throughout.
Sebastian the monster is conspicuously, but thankfully, missing in action. Janice is played by Lyn Pierse, strong and compelling with all that she offers. Her sophisticated approach ensures that the show never descends into exploitative territory. The very charming Julia Robertson is delightful in her playful array of roles, particularly biting as Sebastian’s father Len. Nathalie Murray provides solid support, a disciplined and nuanced performer proving herself to be inexorably reliable.
Lie With Me is about motherhood, and the many roles women have to play, that deprive us of our sovereignty. Janice tries to be her own person, but having devoted her life to being little more than mother and wife, she struggles to find self-worth when forsaken by both son and husband. It is anybody’s guess if she would again choose motherhood if the reversal of time were possible, but one would hope that the lessons she has learned would lead to a reclamation of power and independence. For those of us with time on our side, the play is a reminder of how we should define existence, and the bigger things we are capable of.