Whilst David Williamson’s play “Influence” is twenty years old it still has relevance and impact. The Stirling Players’ production directed with certain touch by Vicky Horwood is testimony to that. She has astutely guided her cast in a quest to peel away the conservative layers of talkback radio host Ziggi in order to lay bare the personal quagmire that churns within his family away from the public perception.
The set is designed by Erik Strauts with the radio DJ’s claustrophobic booth to one side of an expansive living space in which all the action takes place. A large feature window frames a projection of a splendid harbour view. Strauts has simply “followed the money” and that singular view be it by day or lit for night time, is the money. All technical elements work well in this production and not the least of those is sound. Probir Duit’s sound design is key to the play’s theme and the recorded questions from the listening public are well managed. Voices are clear with their inflections spot on and the prevailing social and political attitude drivers of the callers are easily recognisable. The question / answer routines were a highlight I thought.
It is likely not by accident that Williamson has his two characters of low socio-economic status display the most likeable and admirable human traits. John Koch plays Tony the driver and general dogsbody to Ziggy and wife Carmela. He is quietly convincing in this role and humbly does his best to comply with the endless commands and requests of his employers. Koch plays him with integrity. His character, Tony, displays an instant empathy with the newly hired housekeeper Zehra. She is a single mother of Islamic faith who is trying to make ends meet raising three daughters in a far western Sydney suburb. Turea Blyth brings a calm and pragmatic serenity to her character. She is the economic marker of the huge wealth chasm between the “haves” and the “have nots” in this little cross section of society. Blyth uses the stage well and her delivery, like her character, is measured and logical. She constructs a character, like that of Tony, that we warm to.
Ziggi’s sister Connie is certainly not a member of his fan club. She exhibits a kindly concern towards her niece Vivienne and father Marco. She is able to discern behavioural patterns not only in a professional capacity but in ways of human concern to which her brother is completely blind. Joanne St. Clair’s performance underlines Connie’s concerns, her humanity and her honesty. A nicely balanced portrayal. Zoe Battersby plays Vivienne with all the ingredients that make a spoilt brat. She moves on a comfort-zone driven whim, between the homes of her mother (Ziggi’s first wife) and her father. Battersby’s performance as the (likely) bipolar Vivienne is commendable. Her timing is excellent and her vocal delivery is clearly articulated. I’m sure we will see much more of her in the future.
Ziggi’s wife Carmela is astutely played by Carla Hardie. Carmela is entirely obsessed with the notion of regaining her ballet career and is oblivious to the needs and feelings of anybody else. Hardie adopts her character with consummate ease both vocally and physically in an excellent performance. She is a thoughtless bully to her domestic staff and has absolutely no time for any family member including (or especially!) husband Ziggy. One wonders about her commitment to motherhood and just what will become of baby Frida. The housekeeper Zehra shows that concern, but then she has empathy which Carmela lacks in spades. She will always survive but only on her terms. Brendan Clare plays Ziggi with a nice degree of nonchalant arrogance. He too is very self centred although he does display a little concern for his daughter when he learns she is not attending school. But that is momentary. He is pretty much dismissive of everybody, including his wife. The irony here is that they thoroughly deserve one another. Clare provides us with a telling performance and his transition each time from radio studio to living room is very smooth.
I considered the most interesting character in the play, as I am sure he was meant to be, is Ziggi and Connie’s father Marco. Andrew Horwood presents the elderly man in a most pensive and deliberate way. He has the wealth of experience to know that, when on stage, less is often more. Whilst Marco is enamoured of his son’s success and at one with his political viewpoint it is his long troubled conscience that finally trumps it all. Horwood’s presence on stage is always and easily subtly assured and the story he has to tell is telling indeed. A well considered performance.
Having, like many of my (and his!) generation, long been a devotee of the plays and screen plays of David Williamson, I think my favourite is “The Department” because he peeled away the layers to probe the truth beneath, and he does the same in this play. I had not read or seen this before and I thoroughly enjoyed the Stirling Players presentation.
