The Lysicrates Prize

Verbrugghen Hall, Sydney Conservatorium of Music and Royal Botanic Garden, January 30

In front of the Choragic Monument of Lysicrates at the Royal Botanic Garden, Sydney after Premier Mike Baird announced the winner of the first Lysicrates Prize.From left:  Lee Lewis, Artistic Director Griffin Theatre Company, Finance Minister Dominic Perrottet, Environment Minister Rob Stokes, Patricia Azarias, Kim Ellis, Executive Director, Botanic Gardens and Centennial Parklands, John Azarias. Photo: Jessica Lindsay

In front of the Choragic Monument of Lysicrates at the Royal Botanic Garden. From left: Lee Lewis, Artistic Director Griffin Theatre Company, Finance Minister Dominic Perrottet, Environment Minister Rob Stokes, Patricia Azarias, Kim Ellis, Executive Director, Botanic Gardens and Centennial Parklands, NSW Premier Mike Baird, and John Azarias. Photo: Jessica Lindsay

The inaugural Lysicrates Prize for new Australian playwriting was to have taken place in Sydney’s Royal Botanic Garden on the Band Lawn near the replica of the original Choragic Monument of Lysicrates that gives the competition its name.

It would have been a lovely spot for such an event. However, torrential rain earlier in the week left the grass too wet for the seating stand, so the play readings took place in Verbrugghen Hall. Guests then walked down to the lawn for the announcement of the prizewinner by NSW Premier Mike Baird.

The Lysicrates Prize calls for Australian playwrights to submit the first act of a new play. The three short-listed submissions are given a rehearsed play-reading in front of an invited audience. What sets this Prize apart from any other Australian playwriting award is that the audience decides the winner – as happened in Ancient Greece. The prize is a $12,500 commission from Griffin Theatre Company, with the runners-up receiving $1000 each.

The three finalists for the inaugural 2015 Lysicrates Prize were Steve Rodgers, Lally Katz and Justin Fleming, with Rodgers awarded the prize for his play Jesus Wants Me For a Sunbeam.

It all began early in 2014 when John and Patricia Azarias, the founders of the Prize, took a walk through the Botanic Garden.

John Azarias loves Hellenic culture and had seen the original monument in Athens. On that particular day, as he and his wife approached the sandstone replica (commissioned in 1870 by Sir James Martin), they were struck by how eroded it was becoming. He decided then and there to raise the funds for its restoration in readiness for the Botanic Garden’s bicentenary in 2016.

The original monument was built by a rich sponsor (or choregoi) called Lysicrates to celebrate the winning play at the Dionysia Festival in Athens in 334 BC, as was the tradition during the 4th and 5th centuries BC. The monument has a frieze featuring Dionysus, the god of theatre. In a nice little link, the name ‘Sydney’ is an English version of the French ‘St Denis’, which in turn is a Gallic version of ‘St Dionysius’ – as John explained in his welcoming speech.

Patricia suggested that they also establish a theatre competition associated with the monument as a way to celebrate its restoration. They approached Lee Lewis at Griffin Theatre Company, which is dedicated to the performance of Australian plays, who agreed to run the competition. With some assistance from the NSW Government, along with additional funds raised by John, and the support of the Royal Botanic Garden, they were off.

For the first Lysicrates Prize, an audience made up of Griffin supporters and subscribers, politicians and theatre industry folk gathered at the Conservatorium to watch readings (rehearsed over three days) of the three short-listed plays.

Entering the auditorium, audience members were each given a gold coin with which to cast our vote in large pottery urns.

Rodgers’ Jesus Wants Me For a Sunbeam is adapted from Peter Goldsworthy’s novella and is a haunting story of suffocating love, grief and loss, and a family so close that the parents made an extreme decision when their young daughter is diagnosed with leukemia; a decision their son will struggle to understand.

Darren Yap – who approached Rodgers in the first place about a stage adaptation – directed the extract, which was performed by Jennifer Hagan, Anthony Harkin, Natalie O’Donnell, Rodgers himself and Govinda Röser-Finch.

The emotional scenario and complex moral dilemma posed clearly struck a chord with the audience.

Prize winner Steve Rodgers. Photo: Jessica Lindsay

Prize winner Steve Rodgers. Photo: Jessica Lindsay

Rodgers said of his win: “Jesus Wants me For a Sunbeam isn’t a play yet. It’s just a bunch of scenes and ideas adapted from Peter Goldsworthy’s novel. But because of The Lysicrates Prize, we now get the chance to develop it into a truly important new Australian play. I’m over the moon.

“Philanthropy of this kind in Australia isn’t common, so obviously I’m more than thrilled. This play is about family and explores a kind of love that in one moment you’re completely in sympathy with, and the next, you’re reeling away from in horror. The Lysicrates Prize gives us the chance, to hopefully unleash all that familial complexity on an audience.”

The evening began with Lally Katz’s Fortune, directed by Kate Gaul and performed by Briallen Clarke, Anni Finsterer, Sean Hawkins and Russell Kiefel.

The black comedy is set in a seedy hotel in the US where the woman who owns it has asked a psychic with a crystal ball to tell her about a man who spent time in one of the rooms. The Romany fortune-teller is pregnant and she and her cowboy boyfriend desperately need money to start a new life on his father’s land. Meanwhile, two men who have just lost their Wall Street jobs in the GFC are waiting to book into the hotel: one of them has been around the block, the other is a young Australian who had only just joined the company. It’s an intriguing set-up, the characters are all fascinating and I can’t wait to see how it unfolds.

The night wound up with Justin Fleming’s The Savvy Women, another of his rollicking, contemporary Australian adaptations of Molière, following his success with Tartuffe and The School for Wives.

Directed by Gale Edwards, and performed by Andrea Demetriades, Morgan Powell, Fiona Press and Christopher Stollery, it began with two sisters vying for one man, their parents arguing over which daughter should prevail, and the mother’s sacking of the maid for her massacre of the English language. Fleming’s clever, witty rhymes drew much laughter, especially the maid’s bogan utterings.

Having the audience choose is a different way of commissioning a play these days. The proof will be in the production. But you’d have to say it was an impressive, well-chosen short list. All three extracts were entertaining and showed significant potential; hopefully we will get to see productions of them all in the fullness of time.

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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.

Howie the Rookie

Old Fitzroy Theatre, October 2

Andrew Henry and Sean Hawkins. Photo: Kathy Luu

Andrew Henry and Sean Hawkins. Photo: Kathy Luu

Irish writer Mark O’Rowe spins a gripping, blood-and-brawl yarn in the two intersecting 40-minute monologues that make up his 1999 play Howie the Rookie, which feels slightly fantastical and yet profoundly, horribly human.

Brought to brilliant life by Andrew Henry and Sean Hawkins, the production directed by Toby Schmitz packs a knockout punch.

Set in a tough, working-class suburb of Dublin in the late 1990s, the Howie Lee (Henry) begins the tale. He is, he tells us, out to bash up the Rookie Lee (same surname, but no relation) for infecting a mate’s mattress, where he sometimes sleeps, with scabies. So when his mum asks him to babysit his five-year old brother the Mouse Lee, he tells her in no uncertain terms where to get off.

When the Rookie (Hawkins) takes up the story, he reveals that he is in considerably more trouble than a bashing at the hands of the Howie and his mates. He has inadvertently killed the Siamese fighting fish belonging to the Ladyboy, a brutal gangster, and has to raise a substantial amount of cash if he wants to keep his kneecaps in tact, as a result of which an unlikely alliance forms between the Howie and the Rookie.

O’ Rowe’s use of language is exhilarating. Writing in a vibrant, robust, vital style that sings with a kind of blistering, slangy poetry (words like “slappercopper” for police woman, for example), he creates such vivid, visceral images you feel you are there.

The story is peopled with eccentric characters. The Howie is a bit of a dag and useless when it comes to chatting up girls, unlike the good-looking Rookie.

Then there’s the Avalanche, a mountainous vision in white ski pants who lusts after the Howie (who has bedded her once) and now keeps appearing at inopportune times like when he’s taking a leak.

The Howie’s friends include Flan Dingle, who has dreadful BO, Ginger Boy with blazing red hair and the Avalanche’s towering brother (“six feet tall, built like a human white puddin’), who may not be quite the full quid. As for the Ladyboy, he is rumored to have three rows of teeth like a shark.

A dark, ugly comedy full of booze, piss, blood, biff and violence, it’s very funny – until it suddenly gets all too real.

Schmitz – who is currently based in South Africa where he is playing a featured role in the pirate TV series Black Sails – returned to Australia briefly to direct Howie the Rookie.

Lisa Mimmocchi has designed him the perfect, minimal set: a black box space with nothing in it except two chairs for the storytellers, a tiny up-ended chair in the corner (the meaning of which is explained in the course of the tale) and a pile of beer bottle tops. The tracksuits she chooses for the two storytellers are also spot-on, while the shaved pattern in Hawkins’ hair is an inspired touch.

Schmitz, who performed at the Old Fitz several times early in his career, uses the space exceptionally well. His decision to have both men there throughout the two monologues is a canny one, for starters. They sit, sipping on a beer, while the other talks, occasionally reacting and making eye contact, but mostly just present. But it somehow makes it feel more real to see the other key person in the story.

Schmitz also uses the bottle tops, just twice, to send a jolt through the audience. Alexander Berlage’s lighting and Jeremy Silver’s sound complete the picture perfectly.

Henry and Hawkins are both excellent; Henry capturing the insecurity beneath the loutish Howie’s almost pathetic bravado, Hawkins also conveying the vulnerability beneath the Rookie’s far cooler façade. By the end of the piece we have come to care about both of them and the denouement is surprisingly moving.

The two actors do a pretty good job with the Oirish accent too (dialect coach, Gabrielle Rogers).

Howie the Rookie is a tough little gem, which sits perfectly in the tiny, 50-seat pub theatre at the Old Fitz. Recommended.

Howie the Rooks runs at the Old Fitzroy Theatre until October 25. Bookings: www.sitco.net.au or 1300 307 264