Play a bit of scrabble with the word ‘concussion’ and you can come up with ‘confusion’. Confusion would have been an equally appropriate title, because if you do not pay attention to what’s going on, you could suffer an acute state of confusion.This is not altogether a bad thing, and in fact it’s probably very intentional because it creates empathy with the main character, Caesar, played with dazed and confused perfection by Terry Serio.
Caesar is a cop who wakes up with concussion. He’s been beaten up badly but remembers nothing about the altercation. In fact he remembers very little at all. Random, disconnected memories jump out from time to time but he really has no idea what’s going on, how he came to be where he is, or even what kind of person he is. The question of him being a good cop or a bad cop starts to torment him.
Other characters with other stories bloom seemingly at random around this central story. Caesar’s doctor, Julia (Rachael Gordon); his son Sergio (Sam North); two twin bothers (Chris Ryan and Sam Ryan; a hot-bodied lawyer (Belinda McClory - I think she was a lawyer – it says spin-doctor in the program... same thing?) who is defending Caesar’s character.
There are no clean lines between each story being told. The stories are largely about the nature of the relationship between each of the characters, and all, it turns out, play roles in the lives of the others. They are all connected in some way. And neat chronology? Forget it. Past and present occupy the stage at the same time as snippets are offered and true nature of things are revealed.
It’s an ambitious way to tell a story (or stories), and it’s easy for the thing to de-rail. There’s nothing wrong with a play making the audience work a little bit – in fact that’s a good thing. But it’s risky because too much confusion can result in irritation.
I don’t think Concussion de-railed completely. I think bearing in mind the central premise of a man trying to piece his life together, it’s all handled pretty well, its cleverness perhaps becoming more apparent after the event.
I think where the play worked less well was in the unevenness. At certain points, I lost interest. I became irritated by the self-conscious quirkiness of the characters, their situations and at times their stiff dialogue. On occasion I suffered that ‘get me out of here’ feeling... which is not an ideal reaction.
Likewise the humour. I recognised where the funny parts were, I just didn’t find a lot of it funny. The play seemed to be trying so hard to be so modern with its piss-takes of my myspace and blogging and online culture generally, but mostly I found the jokes a bit lame.
Having said that, some of the observations of the role of electronic communication plays in our lives was spot on and a couple of times pretty funny... Hmm. I knew I wouldn’t be able to write this review without contradiction.
The woman next to me chortled heartily throughout so I thought it must have just been me, but later in the lobby a couple of other people expressed the same feelings. Chatting to the cast after the show, they said we’d been the quietest audience so far, but given the only other nights had been previews and opening night... well, does anyone really trust the reaction of an opening night audience?
I don’t mean to be completely negative, because going head-to-head with the disinterest were the gripping moments. When suddenly everything seemed to have come alive again and we were rattling along on a thrilling ride, and yeah, there was fun being had, and maybe a tear being shed. Where a few minutes ago the characters seemed plastic, suddenly they were warm and human again, comically caught up in quietly tragic circumstances.
In a play full of twists and surprises, the ending – or at least the truth of Caesar’s predicament – is a good one, and somehow bigger than the moments on stage. This is the play’s heart, I feel, and somehow it felt that the closing moments were a bit of a letdown, given the big questions we were suddenly confronted with.
A collaboration between STC and Griffin as part of STC’s Next Stage program, Ross Mueller’s Concussion was shortlisted for the 2007 Patrick White Playwright’s Award and it has drawn together several players who have worked together in the past. Certainly it has its believers.
I came away with mixed feelings, which is not as negative as it sounds. And I’m currently reading the script to explore further. I’m keen to hear what others think of Concussion.
Sydney Theatre Company and Griffin Theatre Company present
CONCUSSION
by Ross Mueller
Director Brett Adam
Venue: Wharf 2, Sydney Theatre Company, Pier 4 Hickson Rd, Walsh Bay
Dates: 13 March to 4 April 2009. Opens Tuesday 17 March 2009
Times: Tuesdays - Saturdays 8.15pm, Mondays 7pm. Matinees: Saturdays 2.15pm
Tickets: $25 - $45 (‘Monday Rush’ - tickets unsold one hour prior to performance available at
$15 - Mondays only)
Box Office: 9250 1777 www.sydneytheatre.com.au/next-stage
