In many ways, W;t is a harrowing play, set entirely in a cancer ward. It traces the ultimate decline of the central character, the no-nonsense English Literature Professor Vivian Bearing, and her reactions to the treatment regime for her ovarian cancer. Yet, juxtaposed to that, and as the title suggests, there is the wit of both Dearing and the subject of her treasured lectures, the 17th Century poet John Donne. The play, the only one written by Margaret Edson, won the 1999 Pulitzer Prize for Drama, and it’s easy to see why.

Under the sensitive direction of Janet Fletcher, the cast, led by Bronwyn Ruciak as Vivian Dearing, held our close attention throughout. The central role is enormous. Ruciak did a splendid job to sustain the character and take us along with her. It’s a demanding role, not only in its vastness, but also in its dramatic complexity. Indeed, it’s three roles in one. Vivian is at times a character in the action, at times a narrator and at yet other times a one-pace-removed commentator on the play itself and on her own role and ultimate fate. That is established in the first monologue. Bronwyn Ruciak managed all of those with naturalness and credibility. She handled the intellectual content with a crisp style and conveyed the analysis of her own life and career with a winning degree of self-deprecation. She was convincing in her early uncompromising utterances, yet also showed the development in her outlook and expectations as she endured the extended course of chemotherapy.

She succeeded in blending academia and her current situation in the cancer ward. A pointed example was when she discussed the concept of paradox – in Donne’s sonnets, but also by noting that her medical treatment imperilled her health.

The supporting cast did well, too. They provided important context to the central character’s story – her early family, her lecturing experiences, her high expectations at the university, and importantly, the nature of the medical profession in dealing with terminal illness.

Jordan Rose played Dr Jason Posner. He showed how preoccupied and academic some medicos can be. He was detached, even brusque, and he made it clear that his interest was much more in the medical facts than in patient care. His Posner was truly irritating, and rightly so. John Hudson played the specialist Dr Kelekian. His manner was superficially kind, yet clearly also driven by the need to further his research, possibly to the detriment of the patients’ wellbeing. Both of them did well to convey the business-like manner often associated with those of their status, usually snapping commands about maintaining hydration as they swept out of the ward.

Michelle Hvartin as E.M. Ashford, Vivian’s former academic mentor, was demanding and self assured in the role, and was notable later in the play when she came to Vivian’s bedside and gently read to her. Georgia Ulsamer was professional and empathetic as Susie Monahan, the nurse who was the only member of the hospital staff to show concern for Vivian’s state of physical and mental health.

The play was well suited to the small, well appointed Mask Theatre. The set was minimal, yet effective. After initial problems with lights and sound – during which the cast showed excellent concentration – the lighting plot and recorded music were sensitive and, along with well chosen texts on the upstage screen, supported the action well.

In all, this was a thoughtful and focussed presentation of a serious and probing play.