The Story of the Miracles at Cookie’s Table (Queensland Theatre)
If you are missing live theatre productions since the advent of social restrictions, then it is time to join the club… Queensland Theatre’s Play Club to be precise, which in its most recent event featured a live reading of “The Story of the Miracles at Cookie’s Table”, Wesley Enoch’s universal love story about the destructive and restorative relationships between generations.
In the 1870s a girl is born under a tree — her birth tree — chosen to give her strength and wisdom. When the tree is cut down she follows it into the white man’s world, working as a cook for the big house on the island. Her tree has become a miracle kitchen table, one she will pass down through successive generations as a legacy — a way of carving out her family stories. Now, generations later, a young man and his mother fight for ownership of the table and audiences get to hear all about it in a lived streamed play reading of a domestic drama spanning four generations of a Stradbroke Island family’s history.
The titular table serves as a solid motif throughout the work, as a symbol of sharing but also separation. And the play is crafted to be equal parts beautifully-moving and wickedly-funny as it unravels what is essentially a universal story about the relationships between generations, at times heartbreaking in its emotions. The three-hander is full of flashbacks and stories of the past, and even without staging in support, the story sits easily between eras, thanks to the skill of its performers under direction of Isaac Drandic.
Despite not being buoyed along by audience reactions, the actors all play off each other expertly, capturing the moments of their relationships despite their few rehearsal opportunities. Their pacing also reflects their characters; in her share of extended family stories, Roxanne McDonald’s god-fearing Faith is considered in juxtaposition to her energetic but also damaged daughter Annie, (the spirited singer who has been estranged for many years) but is also fiery in confrontation of her daughter’s parenting. McDonald captures the essence of grandmotherly care and concern, but even in memory all is not necessarily as it seems as daughter Annie’s stories embellish their way around the underlying secrets that create the story’s tension. Indeed, there is more than one side to a story and as we work through the layered tale. Even with just her words, Ursula Yovich gives a charismatic performance, complete with precise comic timing in banter with her bureaucrat son Nathan, (an assured and versatile Guy Simon), the last in the family’s line. Her pitch-perfect delivery procures comic potential from every line, especially in her frank discussion and questioning of her son’s sex life.
Abandoned by his mother Annie and raised by his grandmother, Nathan left the island for university and a government career, until his grandmother’s funeral brings him back to country and family for the first time in years, evoking themes akin to those of Enoch’s “The Seven Stages of Grieving”. Whereas Annie just wants her son to talk to her, he just wants the table and won’t stop asking about it. Cue the conflict and insult trades of the ‘I brought you into the world and I can take you out’ type, but also realisation, for audience members, of the similarity of their stories and reasons for turning away from their island home.
“The Story of the Miracles at Cookie’s Table” is entertaining but also thought-proving theatre and, even in this format, it is easy to see why the play won the 2005 Patrick White Playwrights Award. The fact that its powerful storytelling transcends so easily into the virtual realm is testament to the universality of its themes of legacy, lineage and life’s memories and also serves a topical reminder of the inter-generational legacy of past traumas.