The Essentials, May 6, 1997

Written by Stefo Nantsou

Trades Hall Ballroom Tues-Sat 8pm until May 17, 1997

Reviewed by Kate Herbert around May 5, 1997

 A screaming ambulance careened by as we left The Essentials, a play about the decimation of the Victorian ambulance services. Simple irony, or Jeff (Kennett) and Intergraph cocking a snoot at their critics?

The play, written and directed by Stefo Nantsou, has two distinct storylines which link in the final five minutes, too long to wait for the pay-off. One thread deals with the privatisation process of the ambulance officers, the second with John Punch, (Steve Payne) businessman and Liberal supporter, who treats his wife (Sue Jones) as chattel and punching bag.

Research is effectively integrated into well-observed, scathingly witty dialogue . The first half is the more successful, the second being less cohesive and coherent.  However one of the strongest pieces of writing is the final monologue by Niko, played with passion and commitment by Nantsou, about one disastrous night of botched ambulance calls, thanks to Intergraph.

The play, staged in the round, is directed with deceptive simplicity in the style of early political theatre. The soundscape (David Franzke) is evocative but sometimes intrusive. Performances are generally strong, not merely because of actors' commitment to the issue. Colin Hall, a real Ambo driver, brings authenticity and gentle warmth to the role of Keith.

The script tackles two issues, ambo service and domestic violence, almost toppling under the weight. It also under-estimates the terrifying subtlety of the manipulation used so adroitly by the very powerful. The manager of the New Order is a blatant villain. His tame psychologist, who runs team-building weekends is merely blunt and aggressive.

Generally, these people employ less obvious and more insidious methods than outright abuse, in order to demean and subjugate "team members". Watch your back people. It could be your workplace next.

This play was originally banned because it was thought to criticise Kennett specifically. It was thus guaranteed an audience when rescued by Trades Hall. Although there is some soap-boxing, it is not merely a vehicle for a well-meaning Leftist diatribe.

KATE HERBERT