Venue: Blood Moon Theatre (Potts Point NSW), Sep 29 – Oct 17, 2015
Playwright: Nick Enright
Director: Phillip Rouse
Cast: George Banders, Megan Drury, Jack Starkey, Samantha Young
Image by Phyllis Wong

Theatre review
Nick Enright’s A Property Of The Clan first appeared in 1992. It was the precursor to his more famous Blackrock, both of which were written in response to the murder of a 14 year-old Australian schoolgirl. The play is mainly concerned with our youth, and how misogyny becomes an entrenched part of Australian culture through its early permeation into children’s lives at school and at home. It is a serious subject matter that retains its resonance in 2015. The characters are not obsessed with mobile phones and social media, but their desires and prejudices are no different. We observe a group of teenagers finding their place in society, acquiring values, and growing up. The circumstances in which they find themselves are exceptionally traumatic, but we recognise their hardship to be symptomatic of teenage life in general, and are made to consider the ways ideals and beliefs are reinforced at that sensitive age. The play is about what happens in the formative years, and the lifelong repercussions thereafter.

Direction by Phillip Rouse is restricted by a problematic space, with its tiny stage, awkward entrances and restrictive technical facilities, but his inventiveness shines through. Reducing the play to its essentials, but adding visual flourishes where possible, Rouse is able to make personalities and narratives effective, while creating an environment that feels energetic and nuanced. There are significant problems with lighting and blocking that cause distraction, but the powerful sincerity in the piece ultimately wins over its audience. Performances are strong and the cast is evenly pitched. The adult players approach their teenage roles with integrity and a surprising authenticity that allow us to identify with each of them and to sympathise with their experiences. Megan Drury is especially memorable in both her parts as Rachel and Diane. Her transformations from one to the other are fluently executed, and the balance she achieves between the divergent qualities of youth and gravity is beautifully measured.

The kids learn about discrimination at school, but they struggle to recognise the powers at play in their own spheres. We can talk about all the pressing issues of our times, evangelising on education, parenting, domestic violence and feminism, but the challenge is to make changes to the defects in our culture, and to find real solutions for the problems that we have. There is a gender issue we must address, and the way we teach girls and boys about their differences are in need of a revolution.

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