Venue: Roslyn Packer Theatre at Walsh Bay (Sydney NSW), Aug 29 – Sep 14, 2019
Playwright: Julia Leigh
Director: Anne-Louise Sarks
Cast: Maxine Peake (with Jethro Jensen, Amy Wahhab)
Images by The Other Richard
Humans have an inexhaustible capacity for obsession. As individuals, we see the world in infinitely different ways, and each of us has our own private passions that can easily be seen as meaningless or bizarre by others. What is of fundamental importance to one, can be interpreted as totally nonsensical by another, yet we all cling on to these idiosyncrasies, often letting them consume and define us.
In the case of Julia Leigh’s Avalanche: A Love Story, an unnamed protagonist spends years absolutely absorbed by the notion of having to bear a child, and subjects herself to expensive and traumatising IVF treatments in hope of falling pregnant. She sacrifices relationships and a prestigious career in film making, to devote all her energies and resources, into the seemingly uncontrollable urge to have a baby. The play comprises scene after scene of one woman’s deep disappointments, and her inability to extricate herself from a suffering that only ever looks to be self-imposed. We watch in amazement, her persistence with this pipe dream, but certainly not all of us will be able to muster up the empathy that the playwright is intent on appealing to.
At best, the show is an honest and painful examination of experiences many have shared, but at its worst, Avalanche: A Love Story is a melodramatic and highly indulgent study of rich people’s problems, manifestly unaware of the way it opens itself to ridicule. The very skilful Anne-Louise Sarks brings, as director, an atmospheric intensity that almost has us forgetting, that the story requires our emotions invest in a kind of torment that can only befall the privileged.
There is no question that the production is adroitly assembled. Everything is considered, purposeful and remarkably polished, with not a hair out of place. Marg Horwell’s spectacular set design is unforgettable. Lizzie Powell’s lights and Stefan Gregory’s sounds are incredibly delicate in their rendering of a woman’s very genuine struggles. The contentious nature of this subject matter notwithstanding, the creative forces have no doubt accomplished a work of theatre replete with technical brilliance.
Maxine Peake too, is precise and inspired as performer of this 75 minute monologue. She holds our attention throughout, and convinces even the most sceptical, of the profound sorrow being expressed on stage. Her efforts are detailed and sensitive, always aiming to communicate at a level of uncompromising accuracy.
It is unlikely that Avalanche: A Love Story can preach beyond those already converted. The character’s anguish is undeniable, but the more that we delve into that narrative of grief, the more we question her choices. A woman can make any choice she so desires, but whether her need for sympathy as a result can ever be satisfied, is quite another matter.