Tag Archives: drama

Review: Hurt (White Box Theatre)

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old505Venue: Old 505 Theatre @ 5 Eliza St (Newtown NSW), Jul 5 – 23, 2016
Playwright: Catherine McKinnon
Director: Kim Hardwick
Cast: Ivan Donato, Meredith Penman, Gabrielle Scawthorn

Theatre review
A horrific road accident brings the breakdown of a relationship to its accelerated boiling point. Surrounded by trauma, Mel and Dom are in a state of anguished disintegration, trying to make sense of marriage and family amidst the smithereens. Catherine McKinnon’s Hurt is ruthless in its depiction of human frailties. Through themes of parenthood and misfortune, her play illustrates life at its most difficult moments, asking us to consider the importance of empathy and compassion, not only for others but also for ourselves. There is a complexity to the writing that demands of us, deep analysis as well as a humane response, bringing attention to the nature of our collective ethics and values. Hurt is both controversial and mundane, exposing highly contentious issues within a context of common occurrences, to orchestrate great dramatic tension for the theatre, and to challenge the ways we think about life and the way we treat one another.

Director Kim Hardwick brings a lethal combination of operatic emotionality and psychological acuity to a production that enthrals from start to finish. The interplay of characters constantly fluctuates to keep us mystified and on edge, but a sense of truth prevails no matter which way the show’s tone oscillates. An unrelenting and dark intensity drives the plot through its surprising revelations, with a seductive force, impossible to resist, drawing us further and further into its agonising quagmire. Production design adheres to Hardwick’s powerful but subtle aesthetic approach. Set design by Isabel Hudson, lights by Martin Kinnane, and Katelyn Shaw’s soundscapes provide the cast with elegantly effective backdrops against which their magic happens.

Meredith Penman plays Mel, the troubled mother of two, with a delicious daring that complicates our need to sympathise and deride. Resisting the temptation to turn her character into a convenient victim, Penman’s ability to portray convincing fallibility is key to the show’s brilliance. No parent can ever be perfect, but we hold them to a certain standard that Mel’s story shows to be impossible for many. The role of Alex is performed by the very impressive Gabrielle Scawthorn, whose work in Hurt is nothing short of spectacular. Perfectly measured and delicately balanced, Scawthorn’s creation is simultaneously brutal and tender, displaying an extraordinary vulnerability in her undeniably painful process. Ivan Donato provides excellent support as Mel’s husband Dominic, with a focused conviction that helps sustain the protracted and mesmerising hysteria of Mel’s world.

When it all comes tumbling down, we are faced with the choice of surrender or struggle. We watch the people in Hurt fight through incredible hardship, and worry if their spirit can pull them through. We want to believe that our fortitude can surmount anything, but the truth is that weakness co-exists with strength, and can sometimes be the element that defeats. It is in trauma, that one’s mettle gets tested, and even though every successful attempt to overcome must be celebrated, it is necessary that our failures are afforded forgiveness.

www.whiteboxtheatre.com.au

Review: The Viagra Monologues (Off The Avenue Productions)

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offtheavenueVenue: Blood Moon Theatre (Potts Point NSW), Jun 16 – Jul 2, 2016
Playwright: Geraldine Brophy
Director: Samuel Allen
Cast: Tom Matthews, John Molyneux, Meynard Penalosa

Theatre review
Three male actors present a series of small episodes offering perspectives on life and humanity, through experiences of male sexuality. Like its very famous feminine predecessor, characters in The Viagra Monologues centre their stories on their genitalia. The pharmaceutical referenced in the title does not make frequent appearances, but its presence is a conspicuous metaphor figuring alongside ideas of masculinity and emasculation, which form the play’s main focus. An erect penis alone does not maketh the man, and we explore what it is that today’s man needs in order to find strength and spirit for his existence. Geraldine Brophy’s script is appropriately diverse in scope, with an admirable objective of portraying vulnerability within its very wide range of personality types. Virtually everything we see in the theatrical landscape involves men, but it is not a regular occurrence to see them only at their most vulnerable, stripped of every macho pretence.

Director Samuel Allen does well to create on the stage, distinct scenes and people who appeal in differing ways. The use of space has a tendency to be too basic and repetitive (and lighting design leaves much to be desired), but Allen’s attention to detail in performances provides an effective realism to all the stories we hear. It is an accomplished cast, balanced and cohesive in their efforts but each with their own idiosyncrasies. Tom Matthews entertains with a flamboyant edge to each of his depictions, John Molyneux is charismatic especially when playing young children, and Meynard Penalosa is captivating in his portrayals of emotional intensity. There are inconsistencies in their ability to delve into the fragility of each sequence, but when successful, the monologues take on a powerful poignancy that speaks deeply about the way we are, and how we treat each other.

These are stories about men, but written by a woman. The best of feminism benefits all, and it is the acknowledgement of the destructive qualities of manhood in these stories that make them meaningful. We observe a series of male characters in varying stages of intimate vulnerability, each exposing themselves in a way that real life (outside of the theatre) disallows. The men are beautiful when they bare all under this spotlight, but these are moments of imagination that, although truthful, are rarely encountered face to face, even with the ones we love. We make our men resilient, powerful and hard, as a matter of course, without stopping to think about the sacrifices involved. They soldier on, with all their softer sides buried and suppressed, but dark monsters manifest when we fail to take care.

www.offtheavenue.com.au

Review: Away (Sport For Jove Theatre)

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sportforjoveVenue: Seymour Centre (Chippendale NSW), Jun 22 – 25, 2016
Playwright: Michael Gow
Director: Damien Ryan, Samantha Young
Cast: Angela Bauer, George Banders, James Bell, Michael Cullen, Danielle King, Berynn Schwerdt, Georgia Scott, Lizzie Schebesta, Christopher Stalley, Christopher Tomkinson, Eloise Winestock, Amy Usherwood, Sarah Woods
Image by Marnya Rothe

Theatre review
Michael Gow’s Away is about ordinary lives and their hidden struggles. The action takes place in 1967 Australia, but the problems faced by its characters are of a personal nature and therefore eternal in their resonance. Social turbulence evolves with each era, and although we think of the world as being a different place with different challenges through time, Gow’s play demonstrates the constancy of our inner struggles. We can imagine ourselves existing in any period, but human mortality is the basis of how we conceive of ourselves; the awareness of death’s inevitability tells us what we want from each day and what we wish to leave behind.

Away is not essentially of an operatic scale, and its many intimate qualities are lost in the very vast theatre space. The production is attractively designed, sleek and refreshing in its simplicity, but the set has an asymmetry that causes the play to project to approximately two-thirds of the auditorium, leaving remaining seats cold. Direction is similarly negligent of this spacial imbalance. Actor Sarah Woods is a clear stand out for her deliberately exaggerated performance, gripping the audience with an over-the-top entrance, and keeping us engaged with her dramatic flourishes as her character Gwen proceeds to reveal her surprising complexities.

The text has an interest in the dark and messy sides of life but the show has a sterility that disconnects from its intentions. The story might be conveyed well to the better seats in the house, but its message is not delivered with sufficient power. We congregate at the theatre to listen, and those on stage have the responsibility to reach out to all who have made the effort to participate. The room can be packed full through commercial brilliance, but the night proves to be fruitless if people leave with emptiness.

www.sportforjove.com.au

Review: Back At The Dojo (Belvoir St Theatre)

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belvoirVenue: Belvoir St Theatre (Surry Hills NSW), Jun 18 – Jul 17, 2016
Playwright: Lally Katz
Director: Chris Kohn
Cast: Fayssal Bazzi, Dara Clear, Catherine Davies, Harry Greenwood, Brian Lipson, Natsuko Mineghishi, Luke Mullins, Shari Sebbens
Image by Brett Boardman

Theatre review
Lois lays in a hospital bed, with her husband Dan by her side waiting for her to gain consciousness. Their granddaughter Patti appears unannounced and drugged out, after disappearing for two years working on her gender transition. Dan and Patti take time to mend their bond, and in the process we witness parallels between Dan’s life in the late sixties, becoming his own man through the discovery of karate, and Patti’s own frustrations in her journey into womanhood. Back At The Dojo by Lally Katz is an emotional work, but gently so. It does not create big scenes of heightened family drama, taking its time instead to build on our involvement with its characters and their stories. Through excellent humour and a moving depiction of relationships, we gradually become invested in the people before us, although its slow burn may prove to be too demanding of some audiences. Katz’s writing is amusing and colourful, with an undeniable poetic beauty, but the play takes a long time to get to its point, resulting in a plot that can feel somewhat aimless before we arrive at its later, more poignant sequences.

The decision to cast a male actor in the role of Patti is a distasteful one that reflects a surprising callousness, given the impressive level of sensitivity evident throughout the rest of the production. Patti’s is one woman’s story, but due to the rarity of transgender representation in our theatres, it is also every trans person’s story, and no trans woman would ever want to see herself portrayed by a man, on any stage or screen. We do not see Patti’s early days in masculine expressions of gender, so to choose a male actor over a female one (trans or cis), only goes to demonstrate the production’s inability and refusal to accept Patti’s gender as she now presents. To be misgendered is one of the most appalling things any trans person could experience, and Back At The Dojo‘s misgendering, deliberate or unintentional, is an unacceptable transgression.

It must be said however, that Luke Mullins’ performance as Patti is a captivating one, and very powerful. He is obviously unable to convincingly depict the physical transformations that his character has had to endure, but there is a beautiful psychological accuracy in his work, in addition to the passionate yet nuanced drama that he sustains in every stage moment. Director Chris Kohn extracts very believable performances from all his actors. It is essentially a simple tale, with few opportunities for a more ostentatious approach, but every personality and relationship feels meticulously refined, with a palpable omnipresence of truthfulness and vulnerability that gives the show an enchanting soulful quality. The role of Dan is played by Brian Lipson, a gentle giant, full of strength and tenderness in his mesmerising interpretation of an older man dealing with immense loss, that will touch the hardest of hearts. Natsuko Mineghishi steals many scenes as the dojo Sensei, a real-life action hero with thrilling karate showmanship, lethal comic timing and a spectacular singing voice.

A profound connection exists between generations, but modern life seems to prevent many of us from experiencing and reaping its rewards. The disintegration of the family unit, and the ever rising regard for individuality means that few of us maintain significant intergenerational relationships. In Back At The Dojo, a distraught woman finds purpose and meaning by learning about her grandfather’s own obstacles in life, and by recognising her kinship responsibilities. We come to a realisation that both Patti and Dan are sinking under the weight of loneliness, and that the frailty of their existences are to be salvaged by the perennial tie that binds. They are fortunate to have one another, like we all have our own families, but how we value them is what the play brings into question.

www.belvoir.com.au

Review: The Olympians (NIDA)

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nidaVenue: NIDA Parade Theatres (Kensington NSW), June 11 – 18, 2016
Playwright: Stephen Sewell
Director: Jeff Janisheski
Cast: Saxon Blackett, Callan Colley, Laura Djanegara, Megan Hind, Imogen Morgan, Wil Ridley, Louis Seguier, Emele Ugavule, Ross Walker

Theatre review
We take sport very seriously in Australia. Billions of dollars have been generated from the industry, and countless personalities have attained national iconic status over the years. Stephen Sewell’s The Olympians attempts to deconstruct the sporting hero, with a story set in the Olympic village of the 2016 Rio games. It is a piece of writing highly critical of sporting and popular culture, using a narrative about a fallen star lost in sex and drugs, appealing to the same need in our audienceship that keeps tabloid journalism in business. Its characters are familiar but caricatured, and although hugely ambitious in scope, the play would probably be more effective if scaled down to its simple essence. Greek tragedy meets television realism in The Olympians for a curious exploration of dramatic form, but the play would make a stronger point if its many subtexts are trimmed down to a more succinct articulation of its thoughtful message.

Direction by Jeff Janiesheski is equally adventurous and imaginative with its approach. The very generously sized stage poses a challenge that Janiesheski responds by delivering amplified theatrical expressions for every scene, resulting in a work that can often feel too obvious with how it chooses to communicate, leaving little room for nuance or irony. The production’s humour is rarely effective but energy from a tireless cast and vigorous lighting effects by Ross Graham help retain our attention. Lead actor Wil Ridley shows good precision and discipline as the dishonoured Porter, especially proficient in some of the play’s more heightened sequences of sentimentality. Imogen Morgan is memorable as Jess, a bimbo type who encounters the goddess Aphrodite. Morgan’s ability to convey consistent authenticity in her role sets her apart in a group that seems to work more intently on exterior presentations than on emotional efficacy and psychological believability.

In an arena where individuals are ruthlessly pitted against each other, the sporting field allows only one winner at a time. Perhaps it is the idea of making concrete the abstract concept of “the best” that gives sport an allure that art has been unable to compete with. Awards are given out in artistic communities the world over, but there is nothing definitive about the good and bad in art, and certainly, the judgements we may bestow upon them are almost never more than irrelevant privileged perspective. People are drawn to the certainties of sport, and the creation of winners and losers in its equations. The nature of art resists that singular objectivity. Great art dismantles systems of segregation and exclusion to speak with universality as though at the Olympics, except all are to emerge victorious.

www.nida.edu.au

Review: Flame Trees (Tunks Productions)

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tunksVenue: The Depot Theatre (Marrickville NSW), Jun 15 – Jul 2, 2016
Playwright: Wayne Tunks
Director: Simeon Yialeloglou
Cast: Ryan Bown, Karina Bracken, Rebecca Clay, Isabel Dickson, Jace Pickard, Wayne Tunks
Image by Isobel Markus-Dunworth

Theatre review (of a preview performance)
Wayne Tunks’ Flame Trees is a lot like soap opera. Its characters are highly emotional, and all their families get entangled in the melodrama, which involve moral conflict, infidelity and bushfires. Unlike the most popular tv shows of the genre however, we do not have years of history with the personalities of Flame Trees, and consequently, their grievances are of little concern to us. Causing further alienation is the lack of authenticity that comes from the play’s desperation to arrive at heightened emotion without first engaging us appropriately with the high stakes that it sets up for itself. The script is unoriginal, and hollow where it attempts to induce passion, but is thankfully fast-paced in getting to its conclusion.

Staging of the work is appropriately cheesy, with every creative decision going with the conventional and obvious. Actors put on unnatural voices and indulge in extravagant eruptions of passion and anger, in service of a narrative that is devoid of depth and often unbearably silly. The cast shows conviction nevertheless, and is fairly well-rehearsed, with Rebecca Clay leaving a good impression by finding nuance in her role despite its inherent incoherences.

Emotion must emerge from meaning, and it is a storyteller’s responsibility to locate resonance with the audience. A work can achieve a lot with its surfaces, but without truth at its foundation, big gestures on the exterior will only appear pretentious and absurd. Going to the theatre is a sacred event for communities to share and connect. Commerce will no doubt be a part of its equation, but it must never be the overriding factor, or our participation will only leave us empty and resentful. Theatre is not the idiot box, and the audience deserves much better.

www.tunks.com.au

Review: The Block Universe (Or So It Goes) (The Old 505 Theatre / Cross Pollinate Productions)

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crosspollinateVenue: Old 505 Theatre @ 5 Eliza St (Newtown NSW), Jun 6 – 25, 2016
Playwright: Sam O’Sullivan
Director: Dominic Mercer
Cast: Briallen Clarke, Jacob Warner
Image by Kate Williams

Theatre review
Andrew the philosopher tells his love story the only way he knows how. He believes that our time in the world is predetermined, and that our past does not simply disappear but exists in a different realm. He tries to access history to relive happier times, but finds his intellectual idealism unable to provide the comfort he requires. Sam O’Sullivan’s The Block Universe is about a man’s heartache, and his fascination with time. The play takes the thematic opportunity to build upon itself a thoroughly interesting structure, based on Andrew’s theories of determinism, for an unusual plot trajectory that depicts time in an unconventional manner. The boy-meets-girl story that it contains is however, nothing out of the ordinary, and although charming in its mundanity, is insufficiently dramatic for us to engage more deeply with Andrew’s anguish.

The play is directed with an understated elegance by Dominic Mercer, who brings surprising clarity to the text’s philosophical interests. Isabel Hudson’s work on set design is thoughtful and artistic, providing ease of functionality to actors and evocative symbolism to the audience. Further visual sophistication comes from lighting designer Alex Berlage, who creates a large number of scene transitions and a wide range of atmospheric manipulations with little resource other than sheer ingenuity. Equally accomplished is Alistair Wallace’s work on sound that guides us through the play’s complicated timeline with a penetrating sensitivity that accompanies its auditory dynamism.

The stars of the show are its captivating actors, both charismatic, and thoroughly authentic with what they present. Playing Andrew is Jacob Warner, vulnerable and truthful in every moment, with a subtlety that draws us in but delightfully energetic in his stage presence. Briallen Clarke impresses with a performance full of nuance and intensity, while maintaining excellent humour in her very vibrant interpretation of Kristiina. The duo’s chemistry, and the timing that results, is flawless and the relationship they portray is utterly believable.

Our emotions are shielded from Andrew’s heartache in The Block Universe. We see him crumbling before our eyes, but the play prevents us from responding with feelings, choosing instead to elicit an analytical acknowledgement of his pain. Indeed, philosophy and analysis can often ease our suffering, and the transference from heart to brain, can be an effective means to dealing with loss and mourning, but as demonstrated by Andrew’s experience, the solution is only temporary. There is no escaping the fact that matters of the heart need to be treated at the origin of their hurt, and Andrew will not be able to think himself out of his troubles. If we refuse to address the real issues that eat at us, we will be trapped in a perpetual cycle of agony, obstructed from resolution and emancipation, blocked from salvation and peace.

www.crosspollinate.com.au | www.venue505.com/theatre

Review: A Man With Five Children (Darlinghurst Theatre Company)

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darloVenue: Eternity Playhouse (Darlinghurst NSW), Jun 3 – 26, 2016
Playwright: Nick Enright
Director: Anthony Skuse
Cast: Jemwel Danao, Chenoa Deemal, Charlotte Hazzard, Jody Kennedy, Ildiko Susany, Anthony Taufa, Aaron Tsindos, Jeremy Waters, Taylor Wiese
Image by Helen White

Theatre review
Like the “Up Series” from British television, Gerry in Nick Enright’s A Man With Five Children begins documenting the lives of five Australian seven year-olds in 1964 with his camera. Initially revisiting the group once a year, he becomes increasingly embroiled with his subjects, and the films he produces begin to lose their objectivity. The nature of Gerry’s art and his relationships are constantly transforming. We think about his responsibilities as film-maker, the validity of his work, and consequently, our collusion as a public that encourages intrusions of this nature. Enright’s play is highly sophisticated, with a big number of themes running through its stories, all thoughtful and sensitive, but its admirable complexity comes at a sacrifice of dramatic tension and focus. Several plot twists are revealed too abruptly, and its ambition to feature all five children with equal weight creates a narrative structure that our emotions struggle to find suitable empathy for.

The work is directed with excellent ingenuity by Anthony Skuse whose combination of live action and film expresses beautifully the way time and space is intertwined in the text (Christopher Page’s lights and Tim Hope’s AV design work together in perfect harmony for a presentation that will be remembered for its precise and elegant aesthetic iterations). Humanity is at the foreground, and Skuse’s remarkable compassion for every character is clear to see, but the ambiguous interpretation of Gerry’s traits and motives is ultimately too mild for its audience to respond with greater passion. Actor Jeremy Waters’ solid stage presence anchors the show appropriately with Gerry’s experiences, regardless of the character’s dubious attributes. It is a performance with power and sincerity, and although not a likeable role, we cannot help but be impressed by Waters’ professionalism and the obvious refinement of his craft.

The cast of nine forms a cohesive and engrossing ensemble. Every scene is lively and authentic, and every line of dialogue is delivered with wonderful conviction. Jemwel Danao plays the innocence and tragedy of Roger to great effect, creating the most poignant moments on stage with an approach that is unique in its subtlety, but also emotionally rich. He speaks directly to our sentimental sides, bringing us back to the play’s tender heart amidst its complications of ideas and incidents. Similarly heartbreaking is Jody Kennedy as Zoe, the girl who believes herself to be “ordinary”. The actor takes her character through many distinct transformations, each one striking in their accuracy, and is consistently charming with every portrayal. The “five children” perform to us not only in the flesh but also through the camera lens, and it is noteworthy that their work on screen is equally accomplished.

The media has played a major part of our lives for decades, but its increasing ubiquity from year to year cannot be understated. A Man With Five Children first appeared before the era of social media, so its major concerns are dealt with in ways that are perhaps slightly outmoded. Gerry is in a position of power that influences lives, in a way not dissimilar to how our own lives are being manipulated by corporations that seduce and insist on our reliance. On the surface, it is a love-hate relationship, but the play leaves little doubt as to the damage that any media can cause when we invite it into personal realms. Gerry’s children would have escaped his domination if their parents had not volunteered their participation but we can scarcely withdraw from the gaze of the modern world through the prevalence of smartphones and their infinite applications. There was a time before screens, and we all fall into the trap of yearning for those simpler days, but the truth is that humans have never been pure and life has never been easy. We have to identify the challenges of our times and their prevailing evils, and do our best to turn things for the better, even in the knowledge that the next malice is just around the corner.

www.darlinghursttheatre.com

Review: The Heidi Chronicles (New Theatre)

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newtheatreVenue: New Theatre (Newtown NSW), Jun 7 – Jul 9, 2016
Playwright: Wendy Wasserstein
Director: Alice Livingstone
Cast: Sarah Aubrey, Matt Charleston, Lauren Dillon, Caroline Levien, Olivia O’Flynn, Amelia Robertson-Cuninghame, Darren Sabadina, Benjamin Winckle
Photography © Bob Seary

Theatre review
Wendy Wasserstein’s The Heidi Chronicles first appeared at the end of the 1980’s when American women were beginning to crack the glass ceiling, and when second-wave feminism was approaching its last days. The play examines the life of Heidi Holland from high school to middle age, beginning in 1964 through to 1989, charting the progress of white middle-class women through those three decades of the second-wave. Another thirty years (almost) have past, and we wonder how much has progressed since. “Can we have it all?” remains a question that only one of the genders asks herself, and the ambiguous conclusion to Heidi’s story confronts our contemporary sensibilities, leaving us to meditate on our place in society today.

Director Alice Livingstone presents a vibrant production that wears its heart on its sleeve, with an unmistakeable affection for the play’s nostalgia guiding us through Heidi’s years of development. It is a work painted with broad strokes, and although nuance is not always delivered, the staging of each scene is crisp and impactful. Refreshing and inventive use of space, along with Livingstone’s choice of projections help elevate the visual content of its otherwise basic design aspects.

Performers demonstrate an earnest conviction that encourages us to get involved with their stories. Leading lady Lauren Dillon does not seem to possess sufficient maturity for the portrayal of Heidi’s life in later sequences, but her confident presence stands her in good stead with the audience, and her passionate interpretation of a crucial monologue gives the poignant work its heart and soul. Darren Sabadina and Sarah Aubrey leave remarkable impressions with their exuberant and adventurous approach to their respective roles, both detailed with their characterisations and humorous at every appropriate opportunity. There are moments in the show of great chemistry between actors, but also scenes in which people do not seem to connect. Nevertheless, this production of The Heidi Chronicles is consistently enjoyable, and many will find its explorations meaningful.

Heidi lives a feminist life because she is in charge of her own destiny. The rules are her own, and she does not seek approval for her decisions. No one lives in a bubble, and we all find inspiration from other lives, but self-determination for every individual should be afforded and supported by our civilisations. A feminist does not have to look a certain way or prescribe to any particular doctrine, but she needs to be aware of her power, where it comes from and the battles that were fought for it to exist.

www.newtheatre.org.au

Review: The Big Dry (Ensemble Theatre / ATYP)

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ensembleVenue: Ensemble Theatre (Kirribilli NSW), Jun 4 – Jul 2, 2016
Playwright: Mark Kilmurry (from the novel by Tony Davis)
Director: Fraser Corfield
Cast: Sofia Nolan, Rory Potter, Noah Sturzaker, Richard Sydenham
Image by Clare Hawley

Theatre review
Three children are stranded and left to their own devices in a dystopian future. An endless drought has hit Australia, and civilisation as we know it has collapsed. The Big Dry is about our abuse of the environment and the consequences that our children have to bear when the struggle for survival becomes abject and savage. They rely on each other to stay alive, and their bond becomes the centre of their universe. Tony Davis’ story is dark, but we respond with a natural thirst for hope, even though it gives us no indication of salvation. Mark Kilmurry’s adaptation gives mother nature a tremendous dominance, but its humans are insufficiently captivating, with dialogue and personalities that pale by comparison.

Stars of the show are lighting designer Benjamin Brockman and sound designer Daryl Wallis, both of whom use their considerable technical skills to tell a story of cruel and imminent tragedy. Brockman introduces a boundless variety of moods and spatial transformations with inventive hues that impose upon the stage, a brutal power evocative of harsh climates and their impact on our planet’s living creatures. Wallis is responsible for the show’s tensions, offering the audience a glimpse into the apocalypse with a series of clamouring and sinister rumbles that send our nerves shivering with foreboding. Young actor Sofia Nolan puts on an accomplished performance as Emily, demonstrating good focus and intensity. Her work is energetic, with a healthy dose of sincerity that helps endear herself to the audience.

The production depicts calamitous events but is itself moderate in temperament. We never quite connect with the characters, and even though we understand the high stakes involved, its scenes are unable to lead us convincingly to a suspension of disbelief. Its concepts are strong and universal, but its drama feels distant and elusive. To convey the pressing need for societies to escalate individual and political action on climate change is not an easy task, with habits of modernity firmly entrenched in all our lives and necessary sacrifices proving too difficult even to contemplate. Ecological messages are hard to take, especially it seems, when the ugly truth is revealed. The Big Dry is not a walk in the park, but to expect an easy ride from its subject matter is probably more than a little unwise.

www.ensemble.com.au