Venue: Sydney Opera House (Sydney NSW), Jul 18 – Aug 24, 2019
Playwright: Oriel Gray
Director: Clare Watson
Cast: Emily Rose Brennan, Luke Carroll, Tony Cogin, Gareth Davies, Rob Johnson, Geoff Kelso, Sam Longley, Celia Pacquola, Steve Rodgers
Images by Philip Gostelow
Jenny Milford has barely begun working in a news room, but is already being threatened with the sack. It is the end of the nineteenth century, and the old white men of Koolgalla’s local newspaper simply cannot imagine a woman working with them. In the meantime, agriculture in Koolgalla is at a crossroads, with old interests having to give way to advancements, or the population will have to face extinction. The Torrents was written by Oriel Gray around 1955, and although its themes are undoubtedly pertinent, it comes as no surprise that this is only the play’s second staging in over half a century. Its plot structure is awkward, its dialogue dry, and its narrative too simple.
Director Clare Watson adds to Gray’s work a lot of ornamentation, and the show becomes, fortunately, of satisfactory quality. It is an elegantly designed production, not particularly inventive with any of its renderings, but certainly accomplished with what it sets out to achieve.
Actor Celia Pacquola is spirited in the leading role, able to introduce a modern sense of sass for Jenny to remain likeable. Although crucial to the story, the character often feels insufficiently dominant in the scheme of things, with many sequences seeming to keep her excluded. The play’s title refers to Rufus Torrent, editor of the paper, and his son Ben. The former played by a sturdy, dignified Tony Cogin, and the latter, a kooky Gareth Davies, whose impulsive comedy adds a reliable and welcome invigoration to proceedings.
It is evident that all performers in The Torrents invest in an attempt to fortify their show. There is good effervescent energy, and an admirable precision to their rhythms as an ensemble, and although the staging is ultimately underwhelming, polish of this standard is always impressive.
Like the residents of Koolgalla, we need something radical to wake us up to our impending destruction. It may be narcissism, or simply fear, that keeps us from accepting the truth of ecological and technological disasters that are already in motion. It was not until the old boys club in The Torrents were able to let the first woman in, that significant change was able to begin.
The powerful is almost always conservative. Those at the top are habituated into thinking that they must protect the existing, and are thus unable to conceive of big transformations that would make things better. They keep doing things the old way, to try and reinforce the security they imagine themselves enjoying. They manufacture a supremacy, to be protected at all costs, unwilling to recognise that it is not mother nature who will be obedient, but us, who must abide by nature’s laws.