Venue: Kings Cross Theatre (Kings Cross NSW), Oct 26 – Nov 6, 2022
Playwright: Kenneth Moraleda, Jordan Shea
Director: Kenneth Moraleda
Cast: John Gomez Goodway, Shaw Cameron. Alec Steedman
Images by Clare Hawley
Massage therapist Bhing was on his way to making a better life as an immigrant in Perth, when troublemaker Scott walked through the doors of Golden Touch, to seek help with various pains and ailments. When different worlds collide, in Kenneth Moraleda and Jordan Shea’s One Hour No Oil, it is the collapse of the very barriers of segregation, that makes visible the many social ills entrenched in our Australian lives. Things invisible and overlooked, yet hugely consequential, are unveiled in a piece of writing ostensibly describing an unlikely friendship. Meticulously considered, cleverly constructed and deeply felt, One Hour No Oil explores toxic masculinity, racism and poverty, amongst many other things, for a portrait of contemporary life that is both familiar yet profoundly revelatory.
Direction by Moraleda ensures every sociopolitical point is made with power and clarity, but unwavering focus is placed squarely on the devastating drama between two very dissimilar men, to deliver a riveting experience that proves rewarding on many levels. Set design by Soham Apte, along with costumes by Jessi Seymour, accurately provide all the visual cues necessary, for us to know as if instinctively, where the story takes place, and who these people are, whilst allowing for a performance space that imposes no limitations on its cast. Lights by Saint Clair, offer great enhancement to the emotional intensity of the piece. Music by Zac Saric and Alec Steedman are a crucial element that works surreptitiously, to guide our evolving temperament and sensibility through the journey. Steedman plays multiple instruments live, adding beautiful texture to a presentation memorable, for its complex melange of influences and inspirations.
Actor John Gomez Goodway is completely believable as Bhing, and nothing less than heart-breaking, in his depiction of a man surviving the tremendous challenges of an unjust world. It is a wonderfully surprising yet authentic performance, compelling and entertaining, but with a consistent emphasis on integrity for both the art form and for the character being celebrated. Shaw Cameron is a marvellously effervescent presence, able to prevent the dark role of Scott from turning dreary or hateful. There is impressive vulnerability in his rendering of a difficult personality, and an excellent sense of rigour that offers valuable detail to our understanding of the dynamics being articulated.
It is useful to think of that which oppresses, as being not any individual, but a system. It is important that we learn to appreciate the sentiment, as articulated by the poet Emma Lazarus, “until we are all free, we are none of us free.” Hard as it might be, we need to be able to see that our neighbours too need emancipation, much as their conditions appear to be different from our own. Indeed we must acknowledge that this system privileges some over others, but it is an illusion that even those who benefit the most, are receiving what they truly need for good and meaningful lives. Nobody gets away scot-free from something so diseased and pervasive, but until communities shift their values, progress shall remain elusive.