Away (La Boite Theatre Company)
La Boite Theatre, Roundhouse Theatre
October 25 – November 13
Along with “Summer of the Seventeenth Doll”, Michael Gow’s “Away” is Australian Drama 101. The play is a classic work easily able to be revisited and seen anew through a contemporary lens, celebration of which is central to La Boite Theatre’s revival of the much-loved work.
The summer print of usher outfits and preshow of-era soundtrack of The Seekers’ ‘Georgie Girl’ et al, transports us to the story’s summer beach holiday represented simply on stage. However, while Gow’s memory play is of a childhood of idyllic summer holidays of this sort, when the night hues unsettle from their pre-show blanket of the stage, we are taken not to the beach of its 1967 setting, but rather the conclusion of a school’s production of Shakespeare’s “A Midsummer Night’s Dream” in which young Tom (Reagan Mannix) has starred as Puck.
The play serves as punctuation to the school year before families depart for summer holidays appropriate to their respective status. Class conflicts are evident as Tom’s immigrant parents, still full of wonder around the novelty of a summer Christmas, are condescended to by the strict mother of his classmate Meg (Billy Fogarty). Middle class Gwen (Emily Burton) is appalled that the working class English migrants will be spending their holidays in a lean-to-tent, as opposed to their prime caravan park spot. Meanwhile, school headmaster Roy (Bryan Probets) is flying his wife Coral (Christen O’Leary) to a glitzy Gold Coast resort for some rest and recreation, in hope to snap her out of her all-consuming grief over the recent death of their conscript son in Vietnam.
From its opening scene, issues of its time of social upheaval swirl around the play’s smaller, personal and human stories, for all three families have their own turmoil and are struggling in some way. When a force of Shakespearean proportions forces their respective vacations to fall apart, their crises are brought to a head by their intersection. As their secrets are shared, relationships are forged and repaired and new hope is fostered.
Mannix gives a brilliant performance in his professional debut, easily illustrating his character’s development from enthusiastic schoolboy to mature, mindful young adult and Fogarty’s conveyance of Meg’s stoicism serves a strong complement to this. Alongside them, a talented who’s who of Brisbane theatre fills out the cast. Ngoc Phan and Kevin Spink capture their character’s immigrant optimism in their easy-going attitudes in mask of the painful reality they know they will be facing in the future. As Meg’s father Jim, Sean Dow gives us patient character counterpoint to the blunt force that is his wife Gwen. Burton is brilliant in making Gwen immediately unlikeable as the highly strung woman always in need of a Bex and a bit of a lie down. However, while her manner is obviously hiding a deep hurt, her dialogue is so brittle and snipes so viciously spat out that some of the impact of her emotional journey is lost by the suddenness of her character change.
Proberts is excellent as stoic headmaster Roy, delivering one of the play’s most moving monologues in reflection of the price needed to be paid for the life we have, in defence of his son’s conscription to Vietnam. And O’Leary is mesmeric in her delicate realisation of his fragile and frayed wife Coral, ready to retreat into the darkness and shadows that appear as metaphor for her grief.
A textured aesthetic suits the magical realism at the centre of director Daniel Evans’ vision. A swelling soundscape and sepia-toned nostalgia takes the audience into the post-holiday realities that end the play. Shakespearean references abound as a tempest of a storm catalyses a change for each family. Indeed, Brady Watkins sound design and composition, and Ben Hughes’ lighting design effectively combine to storm us through new year’s eve to 1968 and into interval.
Of era props and some exquisite 1960s gowns, assist in transporting audiences away into the on-stage world. Indeed, Sarah Winter’s set and costume design reveals an attention to detail even down to the shell cases that surround the stage lighting of the central stage. The round stage works well, not just for in-the-round audience engagement, but to represent the divide in families as conversations occur from across its sides. And Liesel Zink’s choreography is impressive, both in the initial ‘A Midsummer Night’s Dream’ segment, and in the show’s creative considerations of all the opportunities of space to give levels from which observers can look down upon the action.
At 140 minutes duration (including interval), this “Away” is a long one, with not only inclusion of a play scene within a play, but an end of season campground concert performance, which although provide a comic balance to the heavy themes of the narrative’s drama, do drag things a little. Mostly, there is a delicate balance between the show’s tones, as fantasies and dreams explode from its domestic naturalism, however, some moments don’t land as well as others, such as when audience laughter continues without recognition of the mood change coming from the urgency of Tom’s desire to lose his virginity to Meg, meaning that the production isn’t as moving as it should be in some moments.
“Away” is a political and social time capsule story about reconciliation, acceptance of life’s obstacles and the need to move forward. Yet, in its exploration of suspicion of outsiders and fear of change, it still has a lot to say about who we were, through the lens of who we are now that we are more grown up as a nation, making it a worth a visit, especially for anybody yet to experience this classic and widely produced work from one of our country’s most significant playwrights.
Photos c/o Morgan Roberts