This Andrew Bovell script is cleverly written. It takes us through critical moments of four generations of a family in diverse settings – London, Alice Springs, Uluru, the Coorong and Adelaide. The narrative structure, too, is varied. The links between the generations and their thoughts and experiences are at first hinted at with leitmotif repetition of sentences and phrases, and later, they are united and resolved. Director Dave Sims and his talented cast handle the complexity in a measured and thoughtful way, bringing the threads together with skill and often heightened emotion.
The cast did a fine job, whether in scenes where they were paired, or in the monologues, which were plentiful. While there were lighter moments, the main mood was one of thought-provoking intensity.
Laura Antoniazzi as the younger Gabrielle and Leighton Vogt as Gabriel worked wonderfully together. Their Coorong scenes in particular were compelling. Their connection and endearment was palpable. Vogt was very effective, too, in his scenes with his mother, the older Elizabeth, superbly characterised by Tracey Walker. Their scenes were a critical link between the generations and teased out some of the most important themes of the play such as disillusionment, family function and truth-telling.
Imogen Deller-Evans, as the younger Elizabeth, was intelligent and steadfast in dealing with her husband’s ways. Bart Csorba played the husband, Henry Law, with subtlety and credibility. Together they made the atmosphere in their London flat both believable, and in a way, develop an increasing sense of unease, even menace.
Nicole Rutty as the older Gabrielle was convincing in her long-lasting grief over her loss, and her disappointment with her life with her earlier saviour Joe Ryan, effectively played by Fahed Farooque. Together they successfully achieved the difficult task of portraying a couple dealing with continuing grief and emptiness. It was notable that they brought a credibility to a relationship that otherwise could have been maudlin.
Set on a spare stage, with few props and items of furniture, the cast did very well. They concentrated our attention on their lives, experiences and thoughts without distraction. And all of that was accompanied at times with a most effective sound and lighting plot. The underlying music was especially well chosen and assisted greatly with the mood.
This was a gripping production played before a full house. Importantly, the cast held our rapt attention from start to finish. It was a fine example of serious theatre brought to us by a well cast and effective ensemble.
