THEATRE
At Playbox Merlin Theatre until August 27, 1994 then touring.
Reviewer: Kate Herbert around 10 Aug 1994
This review was published in the Melbourne Times after 10 Aug 1994
Professional women's conversations meander from gossip to international politics, corporate work issues to romantic disasters - all in a nano-second; confusing for outsiders, namely men.
Falling From Grace, Hannie Rayson's new play for Playbox, is uncannily accurate in representing the worlds of four modern women fighting forty who have busy, successful, complicated, often fraught professional and personal lives. The characters are never predictable but heck, are they familiar!
The narrative interweaves numerous threads. Central is the long-standing friendship between Suzannah (Catherine Wilkin), the editor of a smart monthly magazine and her two soul mates. The fiercely loyal Maggie (a difficult "go-between" role played warmly by Deirdre Rubenstein) and Brock (a feisty Diane Smith), a committed and pregnant journalist who shirtfronts the world.
A medical research project, led by a respected gynaecologist, Miriam Roth, (played with majesty by Belinda Davey) comes under fire from Suzannah's wet and guilt-mongering ex-husband (Sean Scully) and the magazine is faced with ruining a woman's career if they print a profile on Miriam and her research.
Performances are, without exception, extraordinarily skilful. Roger Oakey makes a meal of his role as Michael: lawyer, lover and "loyal but unfaithful" husband. Wilkin bounds from scene to scene in an emotional and moral mine field with her detailed and prismatic portrayal of Suzannah.
There is more, much more to the story. Secrets, loyalties, prejudices, deceptions all elucidate the dilemma, "To print or not to print". Each character's moral position is discoloured by his or her personal relationships. Everybody acts irresponsibly, childishly and selfishly at some point, but the major issue is the degree of trust women place in their friends and the damage a breach of faith can cause.
The brief scenes require frequent set changes which, thanks to Trina Parker's light, effective design and Aubrey Mellor's brisk and economical direction, move efficiently.
Dialogue is astringent, witty and economical. Some longer, more didactic speeches slowed the action but raised moral and ethical points. The numerous plot threads took some time to resolve in a longish second act but Falling from Grace maintains the tenor of warmth and honesty which permeates Rayson's writing. She is a jewel in our crown, a Victorian State treasure.
KATE HERBERT
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