Left - Travis McMahon and Chris Pitman. Cover - Jacinta Stapleton and Alison Whyte
This STC/MTC co-production is an example of state theatre
companies at their best. While some may bemoan their perpetual
programming of “safe” classics, I defy anyone to actually watch this
production and not concede that it is amongst the best theatre they
will see this year.
Initially, one may have wondered if Don’s Party, being the most explicitly temporal of David Williamson’s holy trinity of 1970s classics (with The Removalists and The Club)
has become something of a nostalgia piece, or worse yet, a source of
rueful amusement towards its now decidedly “period” costumes, décor
(wonderfully recreated by Dale Ferguson) and hairstyles (by Lauren A. Proietti). But, despite some initial audience titters along the lines of “oh Gawd, I remember wearing that, please don’t remind me”, any fears of the show taking on a Kath & Kim-esque element of straightforward cultural (cringe) mockery are quickly dispelled.
In fact, one of the more surprising things about re-viewing Don’s Party
is just how confronting aspects of the play can still be. Even in a
post-Mark Ravenhill world, the language is alarming at times. Not so
much the individual words themselves, to which we are all by now surely
desensitised, but rather by their often genuine abusiveness (towards
women especially) in an ostensibly cordial scenario.
On the flipside, Williamson’s scathing satire of the
then-contemporary sexual mores of the late ‘60s seems possibly even a
tad outré in these somewhat more (outwardly) conservative times, yet it
is not long before it becomes readily apparent that most of the sex
going on is all talk, and even that which is happening leaves a lot to be desired.
Which rather leads one to the question: what is Don’s Party really about? Despite the STC’s
canny programming of the work in the months leading up to a
historically analogous federal election (although, one hopes, not too analogous…), Don’s Party
isn’t really about politics, or at least not of the parliamentary
variety. Although the play certainly has an arc of increasing
collective inebriation, disillusionment and exposed inadequacies for
its characters, it isn’t really particularly plot-driven either,
compared to Williamson’s other great works.
While it would be true to say that the playwright is usually quite
character-centric (especially before his “issue of the year” period), Don’s Party
is almost a slice-of-life piece, presenting a wide array of different
human foibles. Disaffection, rampant self-delusion, and outright
hypocrisy are recurring themes for Williamson, but he perhaps never captured so many at one time in such a pithy manner either before or since.
Although many aspects of the play are quite particular to the suburban
would-be intelligentsia at the cusp of the ‘70s, one cannot help but
trot out the old cliché that much of the human failings so expertly
depicted here are, dare it be said, rather timeless.
Although in this instance The Play is most definitely The Thing, one
nevertheless cannot praise the quality of this production without
giving considerable credit to the tremendous cast. Excellent without
exception, these actors form one of the finest ensembles for a
mainstage theatre production we’ve seen for some time. Although
containing some very familiar faces of stage and telly, no one seems
out of place or cast merely for star value, and everyone lays into
their roles with both relish and tempered restraint.
Indeed, seeing a cast of this calibre brings to mind how easy it would
be to make a meal of these often outrageous roles, to overact, mug or
otherwise turn the parts into outright caricatures. However, director Peter Evans
and his troupe have struck a perfect balance, understanding that the
brilliant script already contains all the buffoonery and absurdity that
the final product requires, and that for it to work optimally the
actors need only play their characters “real”, without resorting to
hamming it up.
Given this near-perfect pitch of acting across the board, it seems
almost unfair to single out any individuals in this strong group of
eleven thesps. Regardless, particular praise goes to Travis McMahon,
who delivers one of his most perfectly nuanced performances to date,
seemingly undaunted by the indelible spectre of Graham Kennedy over the
role of Mack.
Also exceptional were Christopher Pitman, captivating as the increasingly pathetic Mal, Jacinta Stapleton playing the aptly-named “pornographic object” Susan without resorting to overboard vampiness, and Glenn Hazeldine who finds just the right calibration for his nerdy character Simon, perhaps the easiest role to overplay.
Special applause also goes to comedian Colin Lane in what is apparently his stageplay debut, doing a marvelous, understated job as the brooding Evan.
This production of Don’s Party is superb, and regardless
of your attitude towards the merits of resurrecting modern classics,
you will not see a better show anytime soon.
Sydney Theatre Company presents
A co-production with the Melbourne Theatre Company
Don’s Party
By David Williamson
Venue: Drama Theatre, Sydney Opera House Dates: 20 September – 3 November 2007 Times: Mondays at 6:30pm, Tuesdays – Saturdays at 8pm Matinees: Wednesday matinee at 1pm (except 24 October at 12:15pm), Saturday matinee at 2pm Price: $73 / $60 concession Matinee $65/$54 concession Bookings: (02) 9250 1777 / sydneytheatre.com.au
I very much enjoyed this production, being the first time I have seen it on stage and the film version deeply etched in my mind. Very impressed with the characterisations all round. Very amused by the set, decor and wardrobe, being a child of parents who entertained a lot during the 70s with fundraisers and progressive dinners so have seen a lot of houses with this look before being sent out to the tv room while the grown-ups entertained.
