After Dinner

Wharf 1, January 20

Helen Thomson, Rebecca Massey and Anita Hegh. Photo: Brett Boardman

Helen Thomson, Rebecca Massey and Anita Hegh. Photo: Brett Boardman

After Dinner is an excruciatingly funny yet surprisingly tender comedy of manners that pretty well everyone will relate to in some way or other.

Written by Andrew Bovell (The Secret River, Lantana) in 1988, it was his first play – but shows an extraordinary level of technical assurance and human insight for one so young and inexperienced.

Set in the 1980s in a pub bistro, After Dinner features five desperately lonely, sexually frustrated singletons on a Friday night out.

There’s the fun-loving, good-natured Paula (Anita Hegh) and her bossy friend Dympie (Rebecca Massey), who go there every week. In order to get a table, they have to eat. Paula would like to be close to the band and would happily stand but Dympie isn’t having any of it. At the back, well away from the press of sweaty bodies, is where they will stay.

Tonight they have invited Monika (Helen Thomson) a recently widowed work colleague to join them. At a nearby table is Gordon (Glenn Hazeldine) whose wife has left him and who needs to talk, and the seemingly cocksure Stephen (Josh McConville) who is only interested in chasing a bit of skirt. Naturally, they will end up interacting and there will be tears before bedtime.

Josh McConville and Glenn Hazeldine. Photo: Brett Boardman

Josh McConville and Glenn Hazeldine. Photo: Brett Boardman

Alicia Clements has designed an instantly recognisable set with icky carpet, plant mural on the walls and yellowing tiles, while her costumes are hilariously 80s-awful. Imara Savage directs a pitch-perfect production with riotously funny yet beautifully observed, painfully truthful performances from the cast. All the actors are superb, though the magnificent Thomson is the first among equals, delivering a drunken monologue about her adventures in the pub after escaping the toilet and a sexually graphic rant about her husband that is comic gold.

Massey, looking almost unrecognisable with long hair, large glasses and a deeply unflattering dress, is wonderfully sour as the passive-aggressive Dympie. Hegh captures Paula’s long-suffering kindness and desperation to have a good time, while looking faintly ridiculous in a dress with a hood.

Hazeldine is perfectly cast as the mild, conventional Gordon, who is smarting from his wife leaving him, while McConville – ever the chameleon – is hilarious as Stephen with slightly padded paunch and slicked-back hair, giving him a cheesy, sleazy swagger.

After Dinner will have you laughing like a drain but at the same time feeling great compassion for its sad characters.

After Dinner runs at Wharf 1 until March 7

A version of this review ran in the Sunday Telegraph on January 25

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Perplex

Wharf 1, April 4

Tim Walter, Andrea Demetriades, Glenn Hazeldine and Rebecca Massey. Photo: Lisa Tomasetti

Tim Walter, Andrea Demetriades, Glenn Hazeldine and Rebecca Massey. Photo: Lisa Tomasetti

Perplex by German playwright Marius von Mayenburg starts intriguingly. Andrea (Andrea Demetriades) and Glenn (Glenn Hazeldine) arrive back at their apartment after a holiday to find that the electricity has been cut off, there’s an odd pot-plant in the kitchen and something strange about the coffee table in the lounge – not to mention an awful smell.

Their friends Rebecca (Rebecca Massey) and Tim (Tim Walter), who have been watering the plants for them while they were away, appear and things get weirder. Not only is the electricity on but as far as Rebecca and Tim are concerned, this is their apartment. Outplayed, Andrea and Glenn are evicted.

Then Andrea and Glenn – the four actors use their own names throughout – reappear. Now, Glenn is Rebecca and Tim’s tantrum-throwing son and Andrea is their au pair. Rebecca doesn’t remember hiring an au pair but pretty soon the power shifts and Rebecca is sent packing as Tim and Andrea cosy up.

And so it goes, with characters and relationships morphing and blurring as one scene slides into the next without referencing previous ones.

Once you realise that this is the conceit and structure, the play somehow loses its bite and fascination. There is philosophical talk embracing Darwin and evolution, Plato, and Nietzsche but though Glenn appears at one point in Nazi brown shirt regalia, and the play ends with an absurdist, Pirandello-like scene in which the actors realise they have been abandoned by their director, the dramatic stakes don’t feel particularly high or truly dangerous. In large part that’s because with each change of scene and situation, the characters are let off the existential hook so instead of the tension building, it dissipates.

As Perplex plays with themes of what is real (in life and on the stage), identity and middle class mores and morality, it entertains but doesn’t pack as much of a punch as previous von Mayenburg plays The Ugly One and Fireface.

That’s no reflection on this classy Sydney Theatre Company production, directed by Sarah Giles, who lulls us into a false sense of up-beat security with a mood-enhancing blast of Queen’s greatest hits as we enter the auditorium.

Staged on a suitably anonymous, minimalist set designed by Renee Mulder (cream brick wall, mustard carpet, sofa and wooden coffee table) the polished production moves briskly with excellent performances from all four actors. A Nordic fancy dress party, which sees Tim dressed as an elk, Andrea as a volcano, Rebecca as a Viking and Glenn as a skier, with a hilariously madcap sex scene between man and elk, is particularly funny, while Tim spends long spells expounding his theories stark naked. Hazeldine’s brilliantly observed tantrum as the boy Glenn is an inspired piece of physical comedy and a standout moment.

Mid-way through, however, I found my interest in the play waning. Maybe some of the scenes have a different resonance in Germany but here, though the plot may perplex the play doesn’t disturb, perturb or provoke and so it ends up rather washing over you in entertaining, non-threatening, bloodless fashion.

Perplex plays at Wharf 1 until May 3. Bookings: www.sydneytheatre.com.au or 02 9250 1777