Pennsylvania Avenue

The Playhouse, Sydney Opera House, April 30

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Bernadette Robinson in Pennsylvania Avenue. Photo: supplied

Bernadette Robinson is well known for her uncanny ability to impersonate singers across a range of styles and genres. Keen to extend this beyond cabaret into a theatre show, she approached director Simon Phillips who commissioned Joanna Murray-Smith to write a play to showcase Robinson’s extraordinary gift.

The result was Songs for Nobodies, which premiered in 2010, in which Robinson performed monologues by five “nobodies” each of whom had had an encounter with a famous singer: Judy Garland, Patsy Cline, Edith Piaf, Billie Holiday and Maria Callas. Naturally, Robinson gave voice to the divas too.

Songs for Nobodies was an inspired and inspiring piece of theatre and proved a huge success. Following up on it, Murray-Smith has written a new piece for Robinson called Pennsylvania Avenue, which is also directed by Phillips. Once again, Robinson leaves you marvelling at her talent but the show itself is not as engaging as its predecessor.

Pennsylvania Avenue, which premiered at Melbourne Theatre Company, is set in the White House. Robinson plays Harper Clements, a girl from the south who gets a big break as an underling at the White House where she works her way up to become a trusted aide responsible for co-ordinating entertainment events. We meet her on her final day. After 40 years of hard work, her services are no longer required and she is packing up and leaving, reminiscing as she goes.

Murray-Smith uses the fictitious Clements as a clever way to interweave historical facts and anecdotal stories about various American presidents from John F. Kennedy to Bill Clinton and George W. Bush, along with their First Ladies and the many entertainers who performed for them.  (I imagine it would go down a treat in the US). In narrating the piece, Robinson voices umpteen characters, male and female.

It begins with Marilyn Monroe singing Happy Birthday for JFK in 1962 and takes in singers as diverse as Sarah Vaughan, Barbra Streisand, Maria Callas, Sarah Vaughan, Eartha Kitt, Diana Ross, Peggy Lee, Tammy Wynette and even an amazingly convincing, raspy Bob Dylan singing Eve of Destruction.

Her Sarah Vaughan is arguably the least successful but overall it’s extraordinary the way Robinson conveys such different vocalists, and she had the audience bopping in their seats for Aretha Franklin’s Respect.

MTC Pennsylvania Avenue_1077_RT-2 copy

Bernadette Robinson. Photo: supplied

Harper is a no-nonsense, resourceful character who is seen dispensing advice to everyone from Marilyn Monroe on knicker lines to Ronald Reagan on his famous Berlin Wall speech. However, her personal story is less interesting and the final revelation doesn’t have the emotional impact it is clearly supposed to.

The set by Shaun Gurton is a plush, upholstered room called The Blue Room with six large framed portrait of early presidents on the wall, which prove to be screens on which historical photographs are shown. Blue drapes at the back occasionally become transparent under the lighting to show the three-piece band sitting behind them. It looks suitably stylish but Robinson rattles around it a bit, shifting from chair to chair, moving her box of things or pouring a drink to keep her busy.

Often it looks as if she is moving for the sake of doing something. Nonetheless, she is a fine actor as well as an exceptional singer and she holds the stage in commanding fashion as she moves with quicksilver ease between numerous characters.

Running 90 minutes without interval, Pennsylvania Avenue feels a touch long but it keeps you entertained and is a lively showcase for a unique performer.

Pennsylvania Avenue plays at the Playhouse, Sydney Opera House until May 22. Bookings: www.sydneyoperahouse.com or 02 9250 7777

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2014: The Year That Was in Sydney Theatre

Looking back over 2014, it was a solid rather than a spectacular year in Sydney theatre. There were some impressive productions and performances but overall not a huge amount that will linger forever in my mind as unforgettable.

Verity Hunt-Ballard as Charity. Photo: supplied

Verity Hunt-Ballard in Sweet Charity for the Hayes Theatre Co. Photo: supplied

By far the most exciting thing was the advent of the Hayes Theatre Co. A group of producers under the banner of Independent Music Theatre (IMT) took over the 115-seat theatre in Potts Point, previously the home of the Darlinghurst Theatre Company, and turned it into a venue for independent musical theatre and cabaret. Named after musical theatre legend Nancye Hayes, the Hayes Theatre Co opened with a bang in February with superb productions of Sweet Charity followed by The Drowsy Chaperone: two of my highlights for 2014.

For the rest of the year, the venue constantly generated excitement even if some of the productions were less successful than others. But it was great to see them producing two new musicals as well as a terrific cabaret festival, which confirmed how many exciting young cabaret performers are emerging in Australia and how rich and varied the genre now is, with other artists performing at the theatre during the year as part of its Month of Sundays cabaret program.

Elsewhere in Sydney theatre, it was good to see female directors and playwrights really making their mark and – as others have noted – queer theatre and indigenous stories gaining a higher profile in the mainstream. The number of powerful new Australian plays was also notable.

I saw 182 productions. These are my highlights for the year.

MUSICAL THEATRE

Sweet Charity

As I say, the Hayes Theatre Co gets my vote for the most exciting venue and initiative of the year. It could hardly have found a better way to begin. Sweet Charity sold out within three days (fortunately I had already bought tickets into the run so saw it twice). Director Dean Bryant and his creative team brought a dirtier, grittier edge to the musical and staged it ingeniously in the tiny space. Verity Hunt-Ballard was gorgeous in the title role, heading a strong cast that also included Martin Crewes as Charlie, Vittorio and Oscar, and Debora Krizak as Nickie and Ursula. The production tours next year. It will be interesting to see how Bryant expands it for the larger venues.

The Drowsy Chaperone

Sweet Charity set the benchmark high but The Drowsy Chaperone matched it. Staged at the Hayes by Squabbalogic (which began the year as part of IMT but parted ways, presenting the rest of its productions at the Seymour Centre’s Reginald Theatre), Jay James-Moody directed a deliciously inventive production of the delightful, tongue-in-cheek, meta-theatrical show. James-Moody also played the Man in Chair and gave a very funny but sweetly poignant performance. The entire ensemble cast was spot-on and the feel-good show sold out like Sweet Charity before it, leaving many lamenting they were unable to see it. One to revive in 2015 perchance?

Miracle City

Josie Lane, Marika Aubrey and Esther Hannaford. Photo: Kurt Sneddon

Josie Lane, Marika Aubrey and Esther Hannaford in Miracle City. Photo: Kurt Sneddon

The Hayes also staged a long-awaited revival of Max Lambert and Nick Enright’s legendary Australian musical Miracle City, not seen in Sydney since Sydney Theatre Company gave it a development production in 1996. With Lambert as musical director, the show about a US televangelist family raised the roof with its gospel-country songs and struck a strong chord with its dark story. Blazey Best was sensational as the unravelling Lora-Lee Truswell and Esther Hannaford broke your heart with her exquisite rendition of the show’s best-known song I’ll Hold On.

Truth, Beauty and a Picture of You, Beyond Desire

All power to the Hayes for staging two new musicals, even though neither were an unqualified success. Both were strong musically but need further work on the book. But there were some wonderful performances in both shows, notably Ian Stenlake and Scott Irwin in Truth, Beauty and Picture of You (featuring the music of Tim Freedman and a book by Alex Broun) and Nancye HayesChristy Sullivan and Blake Bowden in Beyond Desire (by Neil Rutherford).

OTHER MUSICAL THEATRE

Ruthless! The Musical

Elsewhere in independent musical theatre, a new indie company called The Theatre Division staged Marvin Laird and Joel Paley’s 1992 off-Broadway show Ruthless! at the Reginald Theatre. A send-up of showbiz and the pursuit of fame, it’s a very lightweight little piece but lots of fun. The production was stylishly designed and well performed by a strong female cast led by the ever-reliable Katrina Retallick, with Geraldine Turner as an acid-tongued theatre critic.

Strictly Ballroom

Thomas Lacey and Phoebe Panaretos. Photo: Jeff Busby

Thomas Lacey and Phoebe Panaretos in Strictly Ballroom. Photo: Jeff Busby

 As in 2013, commercial musical theatre was decidedly patchy in 2014. Baz Luhrmann’s hotly anticipated musical based on his film Strictly Ballroom had its moments but didn’t fully fire. The score was a bit of a mish-mash, some of the choreography felt flat when it needed to soar, and the production was often over busy. Catherine Martin’s costumes were sensational though.

Phoebe Panaretos made an impressive debut as Fran, with standout performances from Robert Grubb as the conniving Barry Fife and Heather Mitchell as Scott’s pushy mother. Luhrmann has already improved the show since opening and is reworking it further for its Melbourne opening. I will be fascinated to see it again there.

The King and I

Lisa McCune shone even brighter than Roger Kirk’s glorious costumes, giving a radiant performance as Anna in the Opera Australia/John Frost revival of Frost’s 1991 production. There was some controversy about the handling of the racial elements in the musical, particularly the casting of the non-Asian Teddy Tahu Rhodes as the King. Politics aside, the production was beautifully staged and I found Tahu-Rhodes moving as the King. The Asian characters were also sympathetically performed within the context of a 1950s musical.

Besides that, Sydney saw the return of Wicked, with Jemma Rix in fine form as Elphaba and Reg Livermore bringing a winning showmanship and humanity to the role of the Wizard, as well as a rather ordinary production of Dirty Dancing that has nonetheless been delighting audiences, with Kirby Burgess stealing the show as Baby – her first leading role.

Les Miserables

The barricades in Les Mis. Photo: Matt Murphy

The barricades in Les Miserables. Photo: Matt Murphy

The hugely popular musical is back to storm the barricades afresh in a 25th anniversary production featuring new staging and new orchestrations – and stunning it is too. Beginning its tour in Melbourne, there are superb performances from Simon Gleeson as Valjean and Hayden Tee as Javert, who head a generally excellent cast. I thought I’d miss the revolving stage. I doubted I’d be as moved as in the past but I was bowled over and emotionally undone. Can’t wait to see it again in Sydney in 2015.

Once

Staged in Melbourne, with no plans to tour apparently, Once is a bittersweet, wistful little musical, based on the film. The lo-tech staging is so clever and so right for the show, the music is infectious, and the performances lovely. Totally charming.

THEATRE

Henry V, Bell Shakespeare

Can Damien Ryan do no wrong? His idea of staging Henry V (for Bell Shakespeare) as if performed by a group of school students taking refuge in a shelter during the 1940 London Blitz proved inspired. Performed by a marvellous ensemble, Ryan brought his customary clarity to the dense play and left us in no doubt as to the ugliness of war.

Ryan also directed riveting, intelligent, moving productions of All’s Well That Ends Well and The Crucible for his own company Sport for Jove – arguably the most exciting indie theatre company in Sydney.

Tartuffe, Bell Shakespeare

Another terrific Bell Shakespeare production directed by Peter Evans. Featuring a hilariously funny contemporary adaptation by Justin Fleming, the rollicking production was a complete hoot with Kate Mulvany a knockout as the sassy, cheeky maid Dorine.

Pete the Sheep, Monkey Baa Theatre Company

Nat Jobe (as Pete), Todd Keys and Andrew James. Photo: Heidrun Lohr

Nat Jobe (as Pete), Todd Keys and Andrew James. Photo: Heidrun Lohr

A gorgeous show for children, adapted for the stage by Eva di Cesare, Tim McGarry and Sandra Eldridge from the picture book by Jackie French and Bruce Whatley about a sheep shearer who has a sheep called Pete rather than a sheepdog. Directed by Jonathan Biggins, with songs by Phil Scott, the production tickled adults as much as children, with everyone laughing uproariously while still being touched by the message about difference and acceptance. A real beaut.

A Christmas Carol, Belvoir

Another delightful adaptation, directed by Anne-Louise Sarks, that while not shying away from the darker corners of Dickens’ novella, filled the stage with joyousness and snow. The entire cast were perfect but Miranda Tapsell’s smile as Tiny Tim and Kate Box’s playfulness as the Ghost of Christmas Present, sparkling in a glorious costume made from gold tinsel (by Mel Page), would have melted the hardest hearts.

The Glass Menagerie, Belvoir

After several disappointing adaptations of classics, Belvoir made up for it with Eamon Flack’s production of Tennessee Williams’ semi-autobiographical play. Flack’s use of two large screens on either side of the stage showing black and white footage emphasised that what we are seeing are Tom’s memories and gave the production a dream-like quality and sense of the past. Luke Mullins was marvellous as Tom and Pamela Rabe was a tough Amanda. My only reservation – there were sightline issues for anyone sitting on the side.

Eight Gigabytes of Hardcore Pornography, Griffin Theatre Company and Perth Theatre Company

A new Australian play by Declan Greene, set in the Internet era, that is emotionally hardcore rather than pornographic. Written with a spiky economy, it features two desperately lonely, middle-aged people full of self-loathing. Steve Rodgers and Andrea Gibbs bared themselves emotionally in extraordinary performances. Directed by Lee Lewis, the production was insightful and painfully sad.

Switzerland, Sydney Theatre Company

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

A thrilling new play inspired by the life and writing of Patricia Highsmith in which playwright Joanna Murray-Smith weaves a psychological thriller set in Switzerland at the end of Highsmith’s life. Adroitly directed by Sarah Goodes, Sarah Peirse fully inhabited the role of Highsmith in a magnificent performance, with Eamon Farren also compelling as an emissary from her publisher sent to cajole her into writing another Tom Ripley novel, subtly and convincingly conveying his character’s gradual evolution. Brilliantly constructed, witty and gripping, the play will soon be seen at the Geffen Playhouse in Los Angeles.

Cyrano de Bergerac, Sydney Theatre Company

It was interesting to see Cyrano de Bergerac again, having been bowled over by Sport for Jove’s production at the end of last year. The STC production, featuring an adaptation by Andrew Upton, is very different, retaining the original 17th century setting. Truth be told I preferred Sport for Jove’s production but Richard Roxburgh gave a sublime performance as Cyrano, underpinned at every turn by a deep, dark, painful melancholy. Yalin Ozucelik (who was also wonderful as a more exuberant Cyrano for Sport for Jove) was the perfect foil to Roxburgh, giving a beautifully measured performance as Cyrano’s loyal friend Le Bret. Eryn Jean Norvill was lovely as Roxane.

Children of the Sun, Sydney Theatre Company

Andrew Upton’s adaptation of Maxim Gorky’s play was given an elegant, eloquent production by director Kip Williams. Set in the 1860s, with revolution in the air, it concerns an upper middle class Russian family whose lives are about to change forever. Featuring a fine cast, including Jacqueline McKenzie as the only one who senses what is coming, it was deeply moving.

Clybourne Park, Ensemble Theatre

Tanya Goldberg directed the highly anticipated production of Bruce Norris’s award-winning play for the Ensemble and did a fine job. The first act is set in 1959 in a predominantly white suburb of Chicago, the second in 2009 when the suburb is now mainly home to Afro-Americans. An excellent ensemble had us wincing at some of the attitudes in the provocative, discomforting play. All the cast were terrific but Nathan Lovejoy was outstanding as the bigoted neighbour in Act I and a new, white home buyer in Act II.

A Doll’s House, Sport for Jove

Adam Cook’s beautifully paced, richly nuanced, period production kept you on the edge of your seat. A young woman behind me who didn’t know the play was hysterical with excitement at the end. Matilda Ridgway gave us a multi-faceted Nora in a production that added yet another feather to Sport for Jove’s already well-covered cap.

Howie the Rookie, Red Line Productions and SITCo

One of the best indie theatre productions of the year. Directed by Toby Schmitz at the Old Fitzroy Theatre, Andrew Henry and Sean Hawkins gave exceptional performances as two working class Dubliners telling a blood-and-guts yarn through Mark O’Rowe’s two intersecting monologues. Lisa Mimmocchi designed the perfect minimal space. A dark little gem.

Is This Thing On?, Belvoir Downstairs

A riotous new play by Australian writer/performer Zoe Coombs Marr about a lesbian stand-up comedienne at five stages of her life and career, swirling around the night when it all imploded. Kit Brookman directed on a set by Ralph Myers that captured the feel of a grotty pub. Susan Prior’s no-holds-barred, manic performance was at the heart of the show.

NEW AUSTRALIAN PLAYS

Steve Rodgers and Andrea Gibbs. Photo: Brett Boardman

Steve Rodgers and Andrea Gibbs in Eight Gigabytes of Hardcore Pornography. Photo: Brett Boardman

Besides Eight Gigabytes of Hardcore Pornography, Switzerland and Is This Thing On? there were many strong new Australian plays in 2014 including:

Black Diggers by Tom Wright about Indigenous soldiers who fought during World War I and their appalling treatment when they returned to Australia. Premiered by Queensland Theatre Company and Sydney Festival.

Jump for Jordan by Donna Abela for Griffin Theatre Company, about a young woman born in Australia to Jordanian parents struggling to negotiate the gap between their culture and expectations, and her world.

Krytonite by Sue Smith in which she traced Australia-China relations through a personal relationship between two people who meet at university. Ursula Mills gave a sensational performance as Chinese woman Lian for STC.

Sugarland by Rachael Coopes and Wayne Blair, commissioned by atyp and written after a series of workshops with young people in the Top End town of Katherine. A moving piece about troubled teenagers, both indigenous and non-indigenous, in remote communities, with touching performances by a cast including Hunter Page-Lochard, Dubs Yunupingu and Elena Foreman.

Brothers Wreck by Jada Alberts A heartfelt Indigenous story about a young man called Ruben (Hunter Page-Lochard) struggling to cope with his cousin’s suicide, and his family’s struggle to care for him and keep him safe. A dark but humane, optimistic play, premiered by Belvoir.

M.Rock by Lachlan Philpott about a grandmother (Valerie Bader) who heads to Europe to find her missing granddaughter and becomes a famous DJ, staged by STC and atyp.

The Long Way Home by Daniel Keene, commissioned by STC and the Australian Defence Force and written from first-hand accounts of returned servicemen and women, many suffering post-traumatic stress disorder. The play was performed by returned soldiers alongside four professional actors. A powerful production and a wonderfully enlightened ADF initiative.

Once in Royal David’s City by Michael Gow. A theatre director already searching for meaning spends Christmas with his dying mother. Gow explores numerous themes including political theatre, consumerism, mortality and love. Brendan Cowell gave a searing, raw performance, with Helen Morse as his frail mother in the Belvoir production.

Unholy Ghosts by Campion Decent, premiered by Griffin Theatre Company. Decent’s touching autobiographical play about a playwright torn between his divorced but still warring parents – a grouchy father and diva-like mother – both facing death.

A FEW OTHER HIGHLIGHTS

Handa Opera on Sydney Habour: Madama Butterfly, Opera Australia A stunning, grittily contemporary production directed by Alex Ollé (of La Fura dels Baus) with a heart-breaking performance by Hiromi Omura. And what a location.

Louder Than Words, Sydney Dance Company An exhilarating double bill of works by Rafael Bonachela and Greek choreographer Andonis Fondiakis. I particularly liked Bonachela’s exquisite Scattered Rhymes. And the dancing! Never has the company looked better.

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

Patyegarang, Bangarra Dance Theatre A luminous production, choreographed by Stephen Page, telling the fascinating “first contact” story of Lieutenant William Dawes and Patyegarang, a young woman of the Eora nation. Told through 13 almost dreamlike scenes and ravishingly staged (set by Jacob Nash, costumes by Jennifer Irwin, lighting by Nick Schlieper, music by David Page), it could have been a little bit more dramatic at times but it was just beautiful.

The Arrangement A collaboration between Australian Dance Artists (veteran dancers Susan Barling, Anca Frankenhaeuser, Patrick Harding-Irmer and Ross Philip), eminent sculptor Ken Unsworth, The Song Company and composer Jonathan Cooper, staged at Unsworth’s studio. A tumult of ever-suprising visual images combined with glorious music and fascinating movement that reverberated with a profound sense of humanity to create a unique and wondrous piece of work.

Skylight in London I was lucky enough to catch Stephen Daldry’s superb production of David Hare’s 1995 play in the West End on a brief visit to London. Featuring the kind of intelligent writing you long to encounter more often, it explores the political through the personal, with nothing cut-and-dried or black-and-white as your sympathies swing back and forth. Bill Nighy and Carey Mulligan were both wonderful.

Limbo, Strut & Fret and Underbelly Productions A dark, sexy, enthralling circus-cabaret show, staged in the Spiegeltent as part of the Sydney Festival that combined jaw-dropping acts with a coherent, netherworld-like aesthetic and a strong sense of drama. It was exhilarating and it sold out fast. If you missed out it’s back at the 2015 Sydney Festival so get booking. I’ll be going back to see it again.

And that’s it. Here’s to a chilled New Year and to many theatrical delights in 2015.

Switzerland

Drama Theatre, Sydney Opera House, November 7

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

Joanna Murray-Smith’s new play Switzerland is a gripping psychological thriller about renowned crime writer Patricia Highsmith that creeps up on you slowly and then has you on the edge of your seat.

Highsmith’s novels include The Talented Mr Ripley, one of several she wrote about the psychopathic, sexually ambiguous Tom Ripley, and Strangers on a Train, which Alfred Hitchcock adapted for the screen.

Born in Texas, but bitter about her lack of serious recognition in her homeland as opposed to Europe where she was feted for her literary skill and psychological insight, she lived her last years in Switzerland, land of neutrality, secret bank accounts, picturesque mountain chalets and cuckoo clocks.

Widely regarded as a tough cookie, the eccentric, tight-fisted, hard-drinking, chain-smoking Highsmith (who was bisexual but more drawn to women) was considered misogynistic and cruel, even by her friends. She loved guns and cats and had a strange thing about snails. But Murray-Smith seamlessly weaves into the dialogue pretty much all that you need to know about her.

Murray-Smith’s play was commissioned by Los Angeles’ Geffen Playhouse – but fortuitously for Sydney audiences they agreed to Sydney Theatre Company staging the world premiere.

Set in the early 1990s, the cleverly constructed, tense drama finds Highsmith (Sarah Peirse) living with cancer towards the end of her life in Switzerland.

A young man called Edward Ridgeway (Eamon Farren) arrives from her New York publisher bearing jars of peanut butter (the wrong brand) and cans of soup.

Slightly nerdy and understandably nervous given the incident with the knife that befell the publisher’s previous emissary, Edward’s mission is to try to convince her to sign a deal to write one final Ripley novel.

Highsmith lacerates him with withering, caustic wit, delivered by Peirse with savagely funny brutality. But Edward – who is passionate about Highsmith’s oeuvre – holds his own (even if he can’t pronounce oeuvre) and things start to shift into a game of cat and mouse where it’s not clear who’s the cat.

Michael Scott-Mitchell’s detailed, realistic set (based apparently on Highsmith’s final Swiss home) – with large fireplace, leather chairs, desk with typewriter, framed weaponry, a portrait of Highsmith, thick windows and spiral staircase leading upstairs – makes a virtue of the awkward, wide stage and works superbly in a way you wouldn’t expect for an intimate two-hander.

Nick Schlieper lights it so that it becomes a place of shifting light and shadows, and Steve Francis’s slightly creepy music heightens the growing tension.

Scott-Mitchell’s costuming is also excellent with loose-fitting jeans and mannish socks and shoes for Peirse, and gradually changing outfits for Farren that reflect his character’s evolution.

Sarah Goodes directs an immaculately paced production, drawing superb performances from the two actors, who take you with them through every tiny emotional twist and turn.

Sarah Pierse. Photo: Brett Boardman

Sarah Pierse. Photo: Brett Boardman

The way Peirse reveals sudden flashes of vulnerability, pleasure or admiration beneath the Teflon-tough, gruff exterior is done with a flawless subtlety. She totally inhabits the role. Edward’s transformation is brilliantly judged in an equally subtle performance by Farren.

Murray-Smith celebrates and emulates Highsmith’s writing, while giving us an insight into her fascination with violence and the dark side of human nature. At the same time, she explores a range of ideas including Highsmith’s relationship with her imagination and characters all the while playing intriguing mind games with us. The play is often laugh-out-loud funny too.

As for how the song Happy Talk from the musical South Pacific fits into all this – well, you’ll just have to go and see, but it’s an inspired theatrical moment.

Running 100 minutes without interval, Switzerland is a thrilling piece of writing given a superb production by STC. In some of Murray-Smith’s previous plays you feel her putting words into the mouths of the characters to serve the debate and themes she is discussing. Here the dialogue feels utterly truthful, emerging organically from the mouths of the characters. I don’t think it’s a stretch to say it’s her very best play to date. Highly recommended.

Switzerland plays at the Drama Theatre, Sydney Opera House until December 20. Bookings: www.sydneytheatre.com.au or 9250 1777

A version of this review ran in the Sunday Telegraph on November 16

Fury

Sydney Theatre Company

Known for writing plays that voice the concerns, dramas and ideologies of educated, articulate, middle class protagonists, Joanna Murray-Smith is one of Australia’s most successful playwrights, embraced by audiences but frequently dividing critics.

Her new play Fury, commissioned by Sydney Theatre Company, is set in the comfortable, inner-city home of a liberal, professional family. Alice (Sarah Peirse) is a highly successful neuroscientist who is about to receive a prestigious humanitarian award. Her husband Patrick (Robert Menzies) is a moderately successful novelist.

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Harry Greenwood and Sarah Peirse. Photo: Lisa Tomasetti

The play opens with a well-researched student journalist (Geraldine Hakewill) interviewing Alice and then Patrick for a personal profile about Alice: an obvious device (which Murray-Smith also used in her play Honour) that allows the characters to articulate thoughts they wouldn’t in ordinary conversation.

A teacher (Tahki Saul) then arrives to inform them that their only son Joe (Harry Greenwood) has been caught with a high school friend putting graffiti on a local mosque. From here the play unfolds to reveal a secret that will undo the family.

Fury is very much a play of ideas set once again in a familiar, middle class milieu. It’s wordy but engrossing. The writing is heightened, sharp, intelligent and witty. The ideas are provocative and eloquently expressed.

In one scene the parents (Claire Jones and Yure Covich) of the other boy – who come from a more working class background and could not have afforded to send their son to the same school were it not for a sporting scholarship – visit Alice and Patrick to discuss with the mosque incident.

The father states clearly and unapologetically his views on the situation, from Muslims living in Australia to parenting today. Again, it’s a way to discuss ideas but to my mind Murray-Smith avoids making it all-too-obvious debate by creating characters that extend beyond stereotypical mouthpieces. Terrific performances by Covich and Jones definitely help.

Andrew Upton directs a tight, absorbing production, drawing detailed, layered performances from a strong cast. Peirse in particular is compelling as Alice, moving from easy, authoritative, self-assurance to unravelling doubt and vulnerability, while Greenwood makes a very impressive professional stage debut as the troubled Joe.

David Fleischer’s open set with concrete walls and polished marble floor is a cold, brutal, elegantly contemporary space that suits the emotional world of the play though it doesn’t feel like the book-filled home of arty intellectuals.

The plot of Fury does feel slightly contrived to embody the debate it dramatises and Joe’s act is never fully explained. Nonetheless, it’s a thoughtful and thought-provoking play embracing themes including race relations, radicalism, intergenerational conflict, gender, and the anger and anxiety in today’s isolating society.

The foyer on opening night was buzzing with people discussing what they had just seen.

Sydney Theatre Company, Wharf 1 until June 8