Venue: San Telmo Studio (Chippendale NSW), Sep 17 – 27, 2015
Playwright: Michael Gurr
Director: Suzanne Pereira
Cast: Les Asmussen, Rhys Keir, Cecilia Morrow, Sam Trotman, Samantha Ward, Michael Wood
Image by John Ma
Political discourse is often simplistic, with individuals taking on allegiances with left or right wings for a certain convenience necessitated by the traditional structures of governance. Adversarial parties make us take sides, and difficult issues are made easier by adhering to a seemingly sensible spectrum traversing the far left to the far right. Many of us take on political affiliations as identity markers, always ready to align or dissent based on that tribal connection, and deviations are unthinkable. In Michael Gurr’s Crazy Brave, anarchists aim for social unrest with the sole purpose of disruption. They do not wish to replace existing systems and conventions with new propositions, only to dismantle what they view to be pervasive and fundamentally problematic. Gurr’s script is complex and sophisticated. It addresses the personal and the social with brilliant sensitivity, and structures its plot inventively for a surprising and gripping progression, involving both our emotions and intellect.
Accordingly, direction by Suzanne Pereira appeals to her audience’s desire to be satisfied on those visceral and cerebral levels. Challenging ideas are presented provocatively, and passions are explored with great potency. It is a mesmerising theatrical experience, with adventurous use of space (beautifully aided by Stephen Moylan’s sound and Tim Hope’s lights) and impressively accurate portrayals of relationships and personalities. Lead characters are powerfully performed. Alice, the ardent agitator with big hopes and even greater determination, is played by Samantha Ward who delivers difficult fanatic speeches with amazing clarity and an almost intimidating conviction. Ward’s toughness in the role is awe-inspiring, and her ability to demonstrate vulnerability alongside that immense strength of character, gives the play its credibility and a dramatic quality of urgency. Sam Trotman’s interpretation of Nick is intense and thoroughly studied, and the actor’s marvellous ability to establish chemistry with co-actors makes for compelling scenes that demand our attention. Some of the show’s most moving moments come from Les Asmussen as Harold, who provides a soulful voice of reason with a flair for bringing elucidation and gravity to the subtler, but wise, sections of the text. Asmussen’s delivery of an anecdote in the concluding scene is utterly sublime storytelling.
Broken marriages can be dealt with in several ways including, as is in the play, abandonment and divorce. Defective economic and political systems are contrastingly resilient, where rot is allowed to persist because change does not benefit the powerful. Cosmetic alterations are made to appease the public, but internal deterioration remains. Revolutions require vision, and a populace that understands its own deprivation, both of which are easily concealed by misinformation and deception. Unhappy relationships can be resolved, either by collusive delusion, or a brutal annihilation, but the choices for society are less simple.