Venue: Sydney Opera House (Sydney NSW), Nov 3 – Dec 20, 2014
Playwright: Joanna Murray–Smith
Director: Sarah Goodes
Cast: Eamon Farren, Sarah Peirse
Images by Brett Boardman

Theatre review (originally published at Auditorium Magazine)
The term masterpiece is used to describe a work of outstanding creativity, skill and workmanship. Although it is far too early to declare that Switzerland is Joanna Murray-Smith’s most celebrated work, there is no doubt that the playwright has founded something extraordinary with this fictional account of American author Patricia Highsmith’s very last days. Along with Sarah Peirse’s phenomenal performance as Highsmith, this is a production that will be remembered as one of the grandest achievements from two of contemporary theatre’s geniuses.

Highsmith died in Switzerland in 1995, but the story takes place in 2001. In her austere living room, she receives a guest Edward Ridgeway, who has arrived from New York as a representative from her publisher, despatched to obtain Highsmith’s signature on a contract for a new instalment to her famed Ripley series of novels. The young Ridgeway is bright and aspirational, but timid in the presence of the great writer, who has no qualms about berating and offending the rookie at every opportunity. Ridgeway presents himself as a devotee of Highsmith’s oeuvre, and uses all his might to complete the task at hand. The subject of his imploring however, is difficult and mean, and she proceeds to turn his visit into a living hell. Like Highsmith’s books of suspense in the crime fiction genre, Switzerland too is intriguing and seductive, with an unmistakeable Hitchcockian sensibility to its plot and pace. The breathtaking work is a remarkably gripping experience not commonly found in live performances that tend to appeal to emotions more than they do our very visceral responses and indeed, nerves.

It is always tempting to think of writings about writers to be at least partially autobiographical, and Murray-Smith does seem to be extremely personal and revelatory about that creative process in the palpable intimacy witnessed here. Highsmith was more interested in the “why” of murder, than the “how” of it, and this play thoroughly explores human behaviour and psychology, providing a window through which we discover the manifold logic behind the way we tick, especially in our dark moments. The characters thrive in their morbidity; conversations rarely veer from death and destruction, but the play is not deadly serious. It is often piercingly funny, particularly in the way Highsmith’s eccentricities and nastier qualities are accentuated. More than entertaining, Murray-Smith’s comedy helps with her macabre narratives, making them more convincing and threatening. It is the way light and dark vacillate that makes us lose ourselves, and fall headfirst into this indulgently baroque world of deception and narcissism.

Sarah Goodes’ direction is tense, taut and terrific. The deeply complex text is brought to life with crystal clarity in its narrative and characterisations, yet the astonishing multilayeredness of its themes is retained. It is the kind of play that seems to touch on everything, even though its story is ostensibly about something simpler. The context of a hermitic novelist is far removed from many of our own lives, but at no point does Goodes allow us to feel estranged from its themes and ideas. The script’s ambitious structure switches mode constantly within its three single-scene acts, taking cue from Highsmith’s unpredictable and capricious temperament. The direction’s acceding variances in tone and atmosphere are sensitively formed, and the results are edge-of-the-seat exhilarating.

In Switzerland, leading lady Peirse is perfection incarnate. She is at once Maria Callas, Greta Garbo and Bette Davis, bringing to the production a charisma that outweighs the Sydney Opera House, and a storytelling ability that seizes and manipulates our imagination as though reducing us to children hypnotised by a lullaby. Her Highsmith is obnoxious, contemptible, almost evil, yet we are drawn to her helplessly, desperate for her every utterance and gesture. There is a mysterious skill involved in the way Peirse makes each moment of her performance seem majestic, while letting us see textures of subtlety and importantly, authenticity. A real character exists on that stage, but the enormity of the actor’s power is its awe-inspiring double. Many excellent actors grace the stages in the lucky city of Sydney, but it is the splendour on this occasion that causes one to bemoan the ephemerality of the theatrical form.

The role of Ridgeway is equally substantial. The character is half of the story and script, even though he is necessarily subservient. Eamon Farren is a strong actor who tackles the role thoughtfully, and with evident conviction, but he is often eclipsed by Peirse. There is an unfortunate imbalance arising from the difference in levels of experience that is almost inevitable. Pitting an 80 year-old character against a twenty-something, and casting actors with over twenty years’ discrepancy in their respective craft maturation in a two-hander, proves to be more than a little precarious. Our attention resists being split 50/50, and Farren is outclassed and relegated to unofficial supporting actor. Nonetheless, the actor’s accomplishments in creating an interesting personality is significant and so is his contribution to the effectiveness of the plot. The chemistry of the pair is also noteworthy, with an impressive fluency to their dialogic rhythms.

All the action takes place in the living room. Michael Scott-Mitchell based his set design on Highsmith’s final home, suitably bringing to focus the Brutalist environs in which she dwelt. Taking a sharply angled perspective of the house, the stage is shaped like a dagger, reflecting Highsmith’s love of weaponry, and the harshness she had embraced into all aspects of life. Scott-Mitchell’s creation is masculine and perversely beautiful, with a large working fireplace in the centre that provides warmth to the visual aesthetic, but also a menacing sense of impending doom. Lighting is subdued but is central to mood changes and assists in illustrating character transformations. Nick Schlieper’s work is unassuming, but very elegant. Steve Francis’ memorable music compositions between scenes are cinematic and evocative, bringing to mind Hitchcock collaborator Bernard Herrmann’s more noir opus.

In Switzerland, Highsmith humorously claims to be neutral, never judging the actions of her characters, content to sit back and observe things unfolding, seemingly on their own accord. She washes her hands of all their sins and misdeeds, almost extricating herself from the part she plays as their sole architect. The show however, bears the fingerprints of all its authors and they should be immensely proud of their artistic marvel. Tom Ripley lives on as a literary landmark, and Joanna Murray-Smith’s play will likely go on to be a considerable part of Australian theatre legacy.
,

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

Switzerland 2014 Sydney Theatre Company

www.sydneytheatre.com.au

Venue: Sydney Opera House (Sydney NSW), Sep 8 – Oct 25, 2014
Playwright: Maxim Gorky (adapted by Andrew Upton)
Director: Kip Williams
Cast: Valerie Bader, James Bell, Justine Clarke, Yure Covich, Jay Laga’aia, Jacqueline McKenzie, Hamish Michael, Julia Ohannessian, Chris Ryan, Helen Thomson, Contessa Treffone, Toby Truslove
Images by Brett Boardman

Theatre review (originally published at Auditorium Magazine)
In Andrew Upton’s adaptation of Maxim Gorky’s Children Of The Sun, 12 characters of distinct and diverse personalities intermingle in the privileged Protasov household, each with their own sets of concerns and each holding world views that struggle to find cohesion and alliance. Written in 1905, but set 50 years earlier, Gorky’s play looks to the past in order that we may speak of the now. Created at a time of great political and social unrest, a fictional history was used to illustrate the disquiet of the day. The work is about the anxieties and uncertainties inherent in the process of revolution, and the troubling consequences of fragmentation in communities. In our age of technological modernity, we relate instinctively to its theme of individualistic narcissism, and the increasingly fracturing nature of our local and world affairs allows us to empathise with the writer’s angst and trepidation in the face of social upheaval.

The disharmony of relationships is strikingly enhanced in Upton’s version. Its farcical comedy is relentlessly witty and often surprisingly clever, but always subservient to the greater tension of unrest that gradually unfolds. The language we hear is modern, almost colloquially Australian, which not only makes for sharper punchlines, but also allows us to readily identify personality archetypes and status structures. The disconnect between the household’s apolitical characters and the political movement that intensifies on the outside is fascinating to observe. Upton’s dialogue portrays the insularity of daily life, with the characters unknowingly providing reverberations for a larger context. It is classic social commentary that seems immortal, because its necessity never seems to diminish.

Kip Williams’ marvelous direction of the piece works with all the nuances and philosophies of the script to deliver an irresistible production that is both entertaining and thought-provoking. Every character is intriguing and authentic, and Williams injects in each a dimension of dignity, refusing to make convenient fools of anyone. Herein lies the poignancy of work. The range of personalities is diverse, and even though we are unable to identify with everyone, we recognise the humanity in all of them. The vulnerability that they display is familiar, which means that the danger they encounter rings true for us.

Williams achieves a deliciously precarious balance between comedy and drama, effectively vacillating between frivolity and severity throughout the production. It is an intensely engaging show that manipulates our responses almost at will. There is an unpredictability to its plot that takes us off the beaten track and rejects our expectations, but it always enthralls our senses. Its rhythm is perfectly orchestrated in collaboration with our fluctuating emotions, and we become utterly lost in all its trials and tribulations.

Giving the narrative an impressive clarity is its extremely colourful and dynamic cast, many of whom exhibit extraordinary theatrical abilities that look very much like genius. Helen Thomson gives an unforgettable performance as Melaniya, a blundering seductress whose desperation is matched only by her beauty. Thomson’s work is precise and studied, but her instinctive timing creates a deceptive sense of spontaneity. Hilarious, playful, and larger than life, her every entrance is commanding and powerful. Thomson finds comedy in unexpected places, making us laugh while leaving us stupefied at the magnitude of her talents. Even more flamboyant is Hamish Michael, who is delightfully hammy as the painter Dimitri. His humour is unfettered and extravagant, always keen to highlight the vacuous pretensions of his role. Michael relishes the opportunity to play jester, with a wildness to his performance that is certainly amusing, and absolutely suited to the grand scale of the venue.

Pavel is the childlike patriarch, whose devotion to science renders him feckless in all other areas. Toby Truslove embodies the character’s eccentricity perfectly. The actor is slightly betrayed by his youthful appearance but his use of voice and physicality is very well-considered. Truslove’s ability to aggrandise what is basically an introspective personality helps establish Pavel as the charming man who finds himself the object of two women’s affections. Pavel’s sister Liza is his opposite. She is a creature of intuition and emotion, whose ill health is a symbolic manifestation of all the worries she carries for the world. Actor Jacqueline McKenzie is sensitive, elegant and tremendously affecting in the role. She demonstrates excellent range and an acute intellect that carves out the most intricate character on this stage.

Production design is restrained but highly evocative. David Fleischer’s big revolving stage holds several minimal structures that demarcate spaces, but all are in full view for the duration. The aesthetic is modern, but its sentiment is traditional. Significant plot devices like rain and fire are introduced gently, without causing a distraction from the story. Costumes and props are beautifully coordinated, with a sense of historical accuracy. Time and space is manufactured efficiently with minimal fuss, but every moment looks harmonious and beautiful.

This production of Children Of The Sun gives theatre lovers everything their hearts desire. It entertains, educates and thrills us, and it gives us so much to admire in the talent and skills that it showcases, but it does not provide answers to its own pressing questions. It is a quietly controversial work that makes statements about community, equity and political action. It makes us recognise the importance of social advancement, but seeks not to be divisive. It leaves with us a plea for progress and perhaps a yearning for a new revolution, but it relies on our own benevolence and intelligence to find a way.

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

Children Of The Sun 2014 Sydney Theatre Company

www.sydneytheatre.com.au