by Hannie Rayson & Andrew Bovell
MTC. Fairfax Studio until December 16
Reviewed by Kate Herbert on 16 November 1995 for The Melbourne Times
It is an unfamiliar but gloriously welcome sensation to have experienced Scenes from a Separation, a perfect piece of theatre.
The resources of a major theatre company should produce this quality every time.
It has an exceptional script by Hannie Rayson and Andrew Bovell, seamless direction (Robin Nevin), deceptively simple design (Dale Ferguson), dramatic lighting (Jamieson Lewis), resonant music (Paul Grabowsky) and inspired performances particularly from leads, Robert Menzies and Heather Mitchell.
We feel the texture of two voices but see one play. The styles, vision and gender of these gifted writers dovetail impeccably, feeding each other's strengths in an achingly beautiful and anguished story of a marriage breakdown. Rayson's naturalism, cheeky characterisation and hilarious dialogue meld imperceptibly with Bovell's acerbic, fractured, frantic conversations, chiselled abstract style and impeccable plotting. One plus one equal infinity.
Matthew's story by Bovell precedes Nina's perspective by Rayson. The individual points of view, highlight, distort and colour each other as details of the tragedy are filled. Robin Nevin's cunning (and stunning) direction is, by turn, invisible then blatant. Action moves swiftly, seamlessly or is punctuated by a stylised theatricality.
Matt's story is brisk and business-like but reveals the vulnerability of the complex, overbearing, tortured publisher Matthew Molyneux played with almost supernatural finesse, dynamism and tragic wit by Robert Menzies.
Heather Mitchell is luminous in her pain as Nina, disappointed and desperate. People stay in relationships because of "complacency, fear and habit", history, familiarity, that "deep need to be known". But "You can't conquer time" (W. H. Auden). Everything changes. Even love is a victim of gravity. People stay through fear not fidelity. How has it transpired that emotional cowardice is hailed as a virtue?
There is a bevy of magnificent characters. All are flawed, all fear change, seeing the truth, letting go. Beverley Dunn is positively regal as the wine-soaked matriarch. Darcy (Tiriel Mora) numbs his bored lovelessness in alcohol and young women. Shane Porteous is oddly paternal as the object of Nina's biography and lust. Fiona Todd is vigorous as the brisk young editor. Sarah, (Marg Downey) the only confirmed single, craves the boredom and familiarity the others have begun to despise.
This play is reflective, challenging, hilarious, informed and adult, rich with allusions. This is new work which has, with editing and sound dramaturgy, got it right on the page so it will be right on the stage. I cannot do it justice in these few words. Just go!
KATE HERBERT
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