The John Wayne Principle, STC Playbox, Sep 4 1997

The John Wayne Principle by Tony McNamara

Sydney Theatre Company at Playbox until October 4, 1997

Reviewed by Kate Herbert around Sept 3 1997

 This is just a stab in the dark but could the term, 'The John Wayne Principle' mean 'Be a real man. Kill the guy in the black hat before he kills you'? Any other clues?

The phrase, is never mentioned in Tony McNamara's play but the rule of thumb, 'slaughter or be slaughtered' is chronically employed by the bevy of immoral corporate pirates who people this cleverly written dark comedy.

Robbie Slater (Paul Bishop) has a Harvard MBA but his father's ugly corporate behaviour and his own corporate failure, compelled him to alter his life. He lived iv isolated Queensland, became a New Man, primary care-giver to his child and supported by his wife. (Kelly Butler).

Then Daddy blows half his face off with a shotgun that precludes him from running the company, given his comatose state. Here begins the roller coaster of manipulation, greed and betrayal. Robbie, if he is to inherit, must run the company for a year. Serena (Alison Whyte) is his sister and Dad's obvious successor, but she is loathed by the board for her hardball tactics.

McNamara, prior to his writing career, worked in the money market and he provides a vicious indictment of the mercenary, narcissistic and inhumane corporate world.  His witty, rapid-fire dialogue is often hilarious and the plot moves swiftly and relentlessly to its totally immoral conclusion.

Director, David Berthold, keeps up a cracking pace. Scene changes are minimal within Justin Kurzel's design of a wood-panelled corporate boardroom where screens display money rates, company valuations and Dow Jones indexes.

This is a spectacular ensemble. Bishop skilfully portrays Robbie's journey from charming boyishness to insensitive bullying. Alison Whyte plays the abrasive but vulnerable Serena with sympathy and humour. Christopher Stollery, as the totally amoral Stafford Ellson, plays this socially acceptable sociopath with superb comic coolness. He is matched by Helen Thompson's portrayal of his dreadful wife. The two have a wonderful idiocy usually seen only in British upper-class twits.

To quibble a little, individual character voices are not clear. Almost all have a similar acerbic, hard-nosed verbal style that seems to be the voice of the writer. This is a smart and entertaining satire but, despite its cleverness, it leaves one decidedly unmoved.

KATE HERBERT