Sex Diary of an
Infidel by Michael Gurr
Playbox Theatre
Beckett Theatre until
July 18, 1992
Reviewer: Kate
Herbert on or about July 2, 1992
Published in print in
The Melbourne Times in July 1992
There is quite a lot of sex on stage in this new play from Michael
Gurr. Not the lurid se x one might expect from a story of exploitation in the
Philippines but surprisingly, the sex hat comes of immediate attraction or
intimacy.
Jean, an award-winning journalist (Janet Andrewartha), takes
her devoted lover and photojournalist Martin (Kevin Harrington), to investigate
the sex trade in the Philippines. She interviews Max, an Australian expatriate
played with a delightfully wry touch by Roger Oakley, who runs an escort
agency. His ‘special’ worker is Tony, the Philippino gender-bender played
tastefully by Anthony Wong.
There the story about the ‘trade’ ends. This is a play which
looks at the infidelity of the title in the broadest possible way. Disguise,
deception, lies and manipulation seem to be rife. Some are victims, some
perpetrators. The story becomes an expose of the tricks of the relationship
trade rather than the sex industry.
Michael Gurr’s writing is sensitive and funny. The dialogue
is subtle, layered and riddled with irony. Characters build slowly and the
story is revealed in surprising and short bursts, like the guerilla fire of the
Philippino insurgents.
Bruce Myles’ very stylish direction keeps all characters
onstage throughout in an almost voyeuristic role. They peep and eavesdrop on
each other’s conversations but the director never allows them to intrude on the
dynamic of the scene. This is enhanced by a very interesting and flexible stage
design by Judith Cobb.
Performances are very
strong in this company, indicating intelligent casting and direction. Kevin Harrington’s Martin is appealingly
gauche and adoring, and Janet Andrewartha is a sound lynchpin for the story.
Anthon Wong lights up the stage on each appearance and is effectively balanced
by his pimp, played by Roger Oakley.
Some script problems arise in the second half. Action
escalates too quickly. Information about the pasts of the characters rattles
along like gunfire but it seems that the story turns on some rather unlikely
or, at least, unclear events and both story and characters become a little
muddy.
This is a fine new play for Melbourne’s flourishing theatre
scene. It is engaging, clever and – whose sex diary is it anyway?
By Kate Herbert July 1992
