If you’re going to run into walls best do it full tilt.
That’s exactly what director Renato Fabretti and his
talented cast of young actors have done in every sense with this uncompromising
play. I had not seen the WAAPA version earlier in the year and, having never
read the play, did not know what was in store.
What unfolded at the Subiaco Arts Centre studio was
a slow burn production that was shocking, uncomfortable and powerful. It
elicited several visceral responses from the audience as it built to a brutal
climax and then lingered in the aftermath to let us all breathe again. That the
cast was predominantly made up of young teenagers was remarkable.
The story itself starts innocently enough – students in an
English school common room discussing their mock exams, the teachers, and each
other with the usual group dynamics and hierarchies firmly in place. There is
the inquisitive William (Luke Binetti) who is keen on the smart new girl Lily
(Chelsea Gibson) who will turn down his request for a date because she’s
secretly seeing the suave Nicholas (Sven Ironside) who is mates with bully
Bennett (Declan Brown). Bennett takes particular delight in picking on quiet
intellectual Chadwick (William Everett-Knight) while the meek Tanya (Claire
Thomas) occasionally cops his ire as well. Bennett’s girlfriend Cissy (Naomi
Denny) is powerless to control him as indeed is everyone else who appear
paralysed in the face of his escalating antics. Until one of them makes a stand
and matters spiral out of control in horrific fashion.
The decision to not have an intermission is a critical one. As
the tension builds I quickly come to realise that what at first seems like typical
teenage antics is going to mutate into something far more primal and
disturbing. The seating configuration means the audience is right on top of
these characters and the confined space adds to the pressure cooker atmosphere.
A break would have leached out that gnawing sense of impending dread. Instead
there is no respite as the stakes are ratcheted up and we’re right there with
the characters. It’s exhilarating and draining in the best possible way.
The external expectations of parents, test scores and their
own personal ambitions be it Oxford or Cambridge pile on the pressure for these
teenagers but it’s their isolation from the school body that is telling. In
this hermetically sealed world of the common room their worst instincts can run
amok as secrets are revealed, lies exposed, true character traits hinted at,
and monstrous acts born of dispassion are allowed to flourish.
In this Declan Brown gives a wonderful performance as the
utterly loathsome bully Bennett. He is a physical presence that intimidates all
of the others but it’s his use of pointed sarcasm and humour that hits home
early before he goes too far with his humiliation of Chadwick. He has a beat
with Thomas’ Tanya that was utterly unexpected and had me gasping. It’s such a
brave moment from both performers and was a clear signpost of how far this
production might dare to take the escalating psychological and physical
violence. At one point when Bennett was in full flight and none of the
characters would even look at him let alone challenge his behaviour I wanted to
get out of my seat and clock him one. Kudos, Mister Brown.
The main target of Bennett’s rage is given a moment of quiet
dignity and respect as Everett-Knight delivers a fascinating monologue about
the true nature of mankind immediately after Chadwick is debased in sickening
fashion. It’s a highlight as he neither flees nor resorts to any forlorn
attempt at retaliation other than to express his contempt for Bennett as
representative of our inevitable worst aspects as a species.
Gibson is intriguing as the smart and engaging Lily. She is
playful and clever in the opening scenes but slowly teases out a darker
undertone as Lily’s sexual relationship with Nicholas is revealed and she
appears quite callous at times to the feelings of others, notably William.
Ironside is all charm as Nicholas and works well with Gibson in their more
intimate moments. Denny adds sass and attitude as Cissy though that front is
easily pricked by her boyfriend’s bluster. Thomas' Tanya is maybe the one true
innocent even though the character's delusions about being in love with one of the
teachers and wanting to have his babies hints that all of these characters are
fundamentally flawed. Together they are a fuse away from exploding.
Then there is seventeen year old Binetti who gives a
spellbinding performance as William. Initially he appears to be the
good-natured nerd, full of questions and hopelessly out of his depth in
attempting to woo Lily. We gradually see that he has his own delusions and
secrets that are carefully revealed until he appears before us an entirely
different prospect. For that transformation and its consequences to be handled
so convincingly is a testament to Binetti’s skill.
Not only were the performances impressive I loved the sense
of play throughout this. The stage ends up a complete mess as the actors use
every inch of it – drawing on the walls, clambering up, under and over the
tables and chairs, throwing all manner of stuff at each other, and totally
inhabiting the space. They eat, drink, cavort and react spontaneously which is
such a delight to see. Well done to Fabretti and his crew for letting them loose
on the set. In what could have been a dialogue heavy, sit and deliver play this
instead always had someone in motion or doing something interesting even if
they weren’t featured in the scene. I should also state that Simon Stephens’
writing was excellent with clever dialogue and a dark sense of humour.
The penultimate scene is performed in near darkness illuminated only with a
torchlight that enhances the chilling climax that was difficult yet enthralling to watch. The final scene is
one that was debated after the show as structurally it felt overlong and
redundant but serves the purpose of letting the audience down after the
harrowing scene before it and attempts to cast some light on the reasons for
what we have just witnessed. David J Rose adds support here and the cast
is rounded out by a cameo from Tahlia Norrish as Lucy who also provides a live
score.
WAYTCo are to be applauded for tackling such a powerful
piece and doing so in a full-throated manner. Directed by Renato Fabretti and Written by Simon Stephens,
Punk Rock stars Luke Binetti, Declan Brown, Naomi Denny, William
Everett-Knight, Chelsea Gibson, Sven Ironside, David J Rose, Claire Thomas and
Tahlia Norrish, names we can expect to hear more of in the future.
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