Sydney Reviews

Left - (l-r) Dan Wyllie, Paula Arundell and Claire Jones. Cover - Emily Barclay, Claire Jones. Photos - Heidrun Lohr

David Hare describes Gethsemane as a “faltering obituary” to Britain’s New Labour. Given his skill with words and concepts, there isn’t much faltering evident. Hare has take a boning knife to the carcass of Blair’s New Labour and deftly whittled down to the bone. The result is ugly but engrossing - the car crash effect. Private morality and public ethics are swirled about in the bottom of a martini glass. This is theatre that exposes the machinations of power, how it is achieved, maintained, financed and asks what are the real costs of moral compromise. Although based on British political events in the 1990’s and early 21st century, Hare’s themes transcend the time. Corruption, personal, public and the lust for power are the focus, Hare’s lifelong obsessions, and New Labour’s scheming resonates with Greco-Roman tragedies. The word “obscene” keeps coming to mind.

Director Neil Armfield and David Hare have a creative simpatico. Armfield “gets” Hare in the way he needs to be understood. Together they create riveting work which illustrates not only the themes at hand but even more broadly, why theatre is a unique and powerful medium. As David Marr notes – theatre like Gethsemane can do that which other things such as the law, journalism, prose and even film can’t do because it brings the process to life and shows us how, in this case power and corruption actually work.

The acting is universally strong. Rhys Muldoon’s Alec Beasley PM is revoltingly unctuous. Sarah Peirse as the embattled Home Secretary, Meredith Guest, prepared to sacrifice her daughter to maintain her position, makes the proposition seem entirely reasonable, while Emily Barclay playing 16 year old Suzette Guest is mesmeric. Hugh Keayes-Byrne as Otto Fallon, the fund raising genius radiates good will in the most Faustian manner and encapsulates much of what the play seeks to illuminate. He makes the very wrong seem absolutely alright.

Brian Thomson’s sparse set has a chilling effect - encapsulating the bunker mentality. It is wonderfully supportive of the tone of the piece as well as being miraculous in its ability to transform. Damien Cooper’s ingenious lighting has replaced the need for tacky bits of gaff tape stuck to the floor and is an elegant demonstration of innovative techniques for students of design.

Gethsemane is as close to pitch perfect as theatre in Sydney gets these days. It is hard to calculate how much of a hole Neil Armfield leave when he finally departs Belvoir next year.


Company B presents the Australian premiere of
GETHSEMANE
by David Hare

Directed by Neil Armfield

Venue: Belvoir St Theatre | 25 Belvoir St, Surry Hills
Season: 3 September – 18 October
Opens: Wednesday 2 September 2009
Previews: Saturday 29 August and Sunday 30 August. All preview tickets $34
Times: Tuesday 6.30pm, Wednesday to Friday 8pm, Saturday 2pm & 8pm, Sunday 5pm.
Tickets: Full $56. Seniors (excluding Fri/Sat evenings) and Groups 10+ $46. Concession $34
Student Rush $25 for Tuesday 6.30pm and Saturday 2pm, available from 10am on the day (subject to availability)
Bookings: 9699 3444 or www.belvoir.com.au