Sydney Reviews

Howie and Becca are a normal, relatively affluent couple living in the suburbs of New York city who are dealing with a bit more than the average marital problems. Their four year old son, Danny, was recently run over in a traffic accident, and although several months on they seem to be dealing with it fairly well, there is still a lot of understandable grief beneath the surface and for all their talk, real communication seems to be the hardest thing to achieve.

If this sounds like a tragic, bleak idea for a drama, yet another entry in the annals of “parents mourning dead children” plays, well… it is and it isn’t. In fact, if you hadn’t read a synopsis in advance you wouldn’t even know for the first fifteen minutes that it was even really about the loss of a child, as that information is almost casually revealed by inference.

Of course, the subject matter is undeniably sobering and quite affecting, and yet the play has a modulated tone that is warm without being saccharine, upsetting without being scarring, and, oddly enough, also surprisingly funny. Not with dark jokes or even conventional tension-leavening comic relief, because the play certainly isn’t a comedy – rather, the play has a lot of gentle humour that comes across through its well-drawn characters and their all too human foibles.

Humanity is, indeed, at the core of David Lindsay-Abaire’s Tony and Pulitzer prize-winning play. These are characters with well-constructed, believable depth and range, and a real treat for good actors. Which, of course, is largely the point here, as this is one of this year’s productions for the 2009 graduating class of NIDA actors. Somewhat contrary to much of the more classical or cutting-edge fare that I have seen this talented group tackle over the last couple of years of shows, Rabbit Hole is a work demanding completely unstylised naturalism, and is an excellent vehicle for displaying these fine actors’ skills at their most unadorned. Without weighing in on some of the argy-bargy that’s surfaced elsewhere in the arts press of late as to the merits of naturalism in Australian theatre, there can be no denying that “conventional” plays of this nature do make up a notable chunk of our companies’ programming and the ability to deliver convincing performances in this genre of drama is as vital a technique as any other for our emerging artists to master.

And, at least for this cast, master it they have. A tight five-hander, the play includes the supporting roles of close family and an unexpected interloper. As Izzy, the brash, irresponsible “screw-up” sister of Becca, Gabrielle Scawthorn once again delivers an excellent, understated performance in a role that could certainly be played more overtly for big laughs, instead portraying the character with a credibility that makes her very plausible as the lead’s sister despite their chalk and cheese personalities.

Shari Sebbens is practically unrecognisable behind the deceptively subtle make-up, padding and thick accent that transforms the young actress into the two sisters’ mother Nat. Much like Scawthorn, Sebbens initially functions as a source of humour, playing the Jewish Mother stereotype to great effect, but ultimately conveying considerable pathos as a woman with her own loss who is at odds with her daughter about how best to grieve.

The fresh-faced Hugo Johnstone-Burt is disarmingly effective as Jason, the teenager who accidentally killed Danny, and now seeks some measure of reconciliation for his part in the tragedy. I couldn’t say how old this actor actually is, but just as Sebbens so effectively plays a much older character, Johnstone-Burt is highly convincing as a pensive, awkward high school senior whose emotions come through with as raw and affecting a potency as the grieving parents.

Although an ensemble piece, the leads are naturally Becca and Howie, and the two actors chosen here do a splendid job of it. Rick Donald as Howie has perhaps the most misleadingly straightforward character, seemingly the best-adjusted to the situation, initially appearing to be neither in denial nor awash with unfettered anguish, attempting to move on with life whilst retaining a persistent memory of their son. As friction with his wife escalates towards an impasse, the cracks begin to show and Donald impresses with a nuanced and appealing performance.

The sparkling Jacinta Acevski is perhaps the biggest surprise in the group, more often cast in outrageous, almost psychotic roles that give free reign to her carnivalesque verve and impeccable comic timing, and thus this buttoned-down character of the angrily mourning, fastidious Becca seems like a radical departure. Indeed, Izzy seems like the more obvious choice for her, and I commend director Tony Knight on his canny decision to let Acevski show her range through such a role. It is a challenging part that, odd as it may sound, has the potential to come off as unsympathetic despite her ordeal, yet there is no danger of that here. Embracing Becca’s conflicted, irritable persona which easily passes through the greatest number of different emotional gradations of all of the characters in the play, Acevski is first-rate in an assured and potent performance.

Applause is also deserved for the unobtrusive direction of the aforementioned Tony Knight, as well as the elaborate set designed by Kate Roberts which perfectly captures the play’s tone and would be fitting work for any professional stage you’d care to name.

Rabbit Hole is a strong play and an apt showcase for some especially solid young actors to show us their chops, making for a fine piece of theatre that is both emotionally and intellectually engaging.


NIDA 3rd Year Actors present
RABBIT HOLE
by David Lindsay-Abaire

Director Tony Knight

Venue: Parade Studio | 215 Anzac Parade, Kensington
Dates/Times: 6-10, 12, 15-17 October | 7.30pm
Matinee: 10 October | 2pm
Prices: Adult $25 | Concession $15 | Groups 10+ $15
Bookings: 1300 795 012 or www.ticketek.com.au
Visit: www.nida.edu.au