The actors are both individually astute in their masterful characterisations and bounce off each other in the ensemble in an excellent performance. Brooke – previously hospitalised for suicidal depression – is presented as being just this side of hysterical, a balancing act well played by Davis. Andrewartha delivers her lines with brittle humour (‘It’s all or nothing with your generation – either vegans or meth addicts!’) and the writing is sharp, clever and pointed. Kate Cherry’s direction cleverly mimics the family dynamic, coordinating smaller subsets of the family, and is complimented by the clean lines of Christina Smith’s set design. The lighting design, by Trent Suidgeest, achieves brilliant morning and late afternoon hues. Sound designer Tony Brumpton must also rate a mention for the evocative compilation of updated ‘California dreaming’ music. This is a polished and enjoyable night of theatre, the work leaving you fully satisfied at many levels. The actors all portraying interesting individuals, though the stand out for me was Conrad Coleby as Trip Wyeth. However Andrewartha as the matriarch, keeping her secrets close, plays a fine line between controlling, distancing, and finally purging her emotions. The play has a startling dénouement and there is a reconciliation of sorts, despite the dreadful secret that is revealed. The playwright takes the audience on an emotionally satisfying journey, powerfully using wit and metaphor. As the son, Trip Wyeth, says: ‘Being funny is all we’ve got left now that they’re flying planes into buildings’. Arts hub
Posted on: Fri, 26 Jul 2013 11:28:05 +0000
Trending Topics
Recently Viewed Topics
© 2015