I think it’s fair to say that this play is hard work for an
audience. It is thematically dense and structurally challenging throwing a lot
of characters at you early in short, sharp vignettes before it finally settles
into more traditional storytelling. It’s also fair to say, however, that there
are many fine performances by this second year class.
A whole lot of story strands are thrown in the air during a
frenetic start – an English Prime Minister being pressured to join America in a
war against Iran; various protestors against student fees; the mysterious John
who returns from some sort of self-imposed exile who slowly becomes a rallying
cry for dissent; an American diplomatic family in London; a cocky lawyer and his
assistant; and so on. All have recurring nightmares about monsters and
destruction; all seem to be looking for purpose and possibly salvation.
Interconnections slowly come to the fore culminating in the
quasi-Christlike figure of John confronting the English Prime Minister at
Number 10 while his followers rally outside. He tries to dissuade her from
committing forces to Iran; she upholds traditional conservative values in the
name of compromise and complexity.
Overlayed on all this is a clear thematic debate over belief
and the existence of God. There is an academic who doesn’t believe in God who
is a close friend, perhaps the only friend, of the PM. The precocious 11 year
old daughter of the diplomatic family reads voraciously and doesn’t have time
for fun because there is evil in the world. Her mother, a god fearing woman is
appalled at her daughter’s casual dismissal of God. John is a surrogate Christ
figure as he preaches on an upturned bucket in the park. He gathers many
followers as his thoughts and words are transmitted over social media, filmed
by a woman who has sex with men for money. One of which is the lawyer whose
carefree attitude to his job and life comes crashing down around him. And so it
goes.
There is almost too much thematic intent to hang on an already
convoluted structure. The whole thing occasionally sways precariously, almost ready
to topple. It also felt overlong as the confrontation between the PM and John,
aided by the academic, felt more debate than drama. However, a clear action
change for the PM gives the whole endeavour a second wind and it closes strongly.
Though, I have to say, the thematic conclusion is ambivalent as John’s fate is
executed with clinical precision tied to a horrendous act his beliefs are
claimed to have sponsored.
To the performances and Miranda Aitken is excellent as the
Prime Minister (Ruth) especially in the second half where her character assumes
greater prominence. Playing a much older character it was the stiff bearing,
the stillness, and especially the measured vocal tones that really sold this.
While giving Ruth an authoritative air, hints of vulnerability and regret
seeped through to telling affect. The weight of Ruth’s final decision was writ
large on Aitken’s face in the closing moments. It was also her action change
from passive listener to passionate defender of Ruth’s beliefs that gave the
play its second wind just when things were flagging.
Will McNeill was compelling in another performance that
snuck up on me. Initially playing the lawyer (Mark) with “don’t give a fuck”
insouciance, his character slowly unravelled until experiencing a full-blown
breakdown that was beautifully played. That it had me empathising with a
previously unlikeable character was impressive.
If Aitken had a challenge playing a woman decades older then
Kate Betcher had a similar task with 11 year old Ruby. She was suitably
precocious and annoying but with the brutal honesty of a child. It was a clever
portrayal and she worked well with the mother (Sarah) played by Anna Apps who
has her own emotional arc that was perhaps the most difficult and controversial
of the play. The insistence that what she ultimately does was justified is
devastating and haunting.
Lukas Radovich gives John a mysterious air until he springs
into action and embraces the role as de facto leader of the opposition forces
that swirl around the PM. It’s a level-headed performance in a difficult role
that is full of symbolism. Giuseppe Rotondella makes for a passionate Amir;
Lachlan Ruffy a somewhat pretentious academic. Sophia Forrest inhabits the
oddly conflicted Holly who, in many ways, facilitates John’s ascension and
Mark’s downfall.
There were so many good performances here – Elle Mickel
continues to impress with her gift at the comic gesture or quirky delivery that
really hits the mark; Megan Smart carries a lot of the early action with a committed
Rachel; George Pullar is a likeable diplomat who loves his daughter, is
concerned for the PM, and has to deal with the most heinous of betrayals.
In a play dealing with lots of weighty topics and big ideas
Brittany Santariga introduces an instantly recognisable human touch as her Zia
looks for love in unexpected places with all the nervousness and anticipation
anyone can identify with. There are some quite sweet moments between Santariga
and Emma O’Sullivan as Zia’s prospective new girlfriend.
Directed with flair by Michael McCall in an interesting
space over two levels that allowed for various entry and exit points for the
actors, this had lots of energy until getting a little bogged down in dialogue
heavy debate in the latter stages. The use of a transparent, movable screen to
depict the nightmares of various characters was stylistically very effective as
was the lighting and sound design.
13 was written by Mike Bartlett, Directed by Michael McCall
and stars the second year acting class of Lukas Radovich, Megan Smart, Giuseppe
Rotondella, Sophia Forrest, Sarah Greenwood, Miranda Aitken, Lachlan Ruffy,
Elle Mickel, Kate Betcher, George Pullar, Alexander Daley, Brittany Santariga,
Angus McLaren, Emma O’Sullivan, Will McNeill, Anna Apps, Rory O’Keefe, Joel
Davies, and Kieran Clancy-Lowe and is on at the Tricycle Theatre at Mount
Lawley Senior High School until 15 October.
