Michael Gow’s Away remains one of the most produced plays in Australia. First performed nearly 40 years ago and set in 1967/68, it explores grief, family relationships, and xenophobia against the backdrop of a distant war in Vietnam. Away may be considered uniquely Australian, but those themes are timeless and have continued to reverberate, making this play forever relevant and moving. Fortunately for those of us in this hemisphere, an all-around excellent production from 2017 — a co-production of the Malthouse Theatre and Sydney Theatre Company — is available to watch on Australian National Theatre Live. With a first rate cast led by Heather Mitchell at her biting best as Gwen, this layered revival makes for a fulfilling 1:40 for any theater fan.
Bookended by the words of William Shakespeare, the action opens with the final scene of an emotive and balletic high school production of A Midsummer Night’s Dream. The evening is hosted by the outwardly jovial Roy, whose wife Coral is consumed with depression over their son who died in battle. Puck has been played by the sweetly awkward Tom, the only child of working class English expats, Harry and Vic. He has fallen for his costar, Margaret, whose nouveau riche parents, Jim and Gwen, aren’t thrilled about the boy’s attentions. All three families leave for beachside holidays over Christmas break, but at three very different levels. Roy and Coral are flying to a ritzy resort where they’ve been regulars. Margaret, Gwen and Jim are off to an upscale caravan park in their luxury camper-van packed with fishing equipment and other gear. Meanwhile, Tom, Harry, and Vic load their lean-to pup tent into the family car.
Playwright Gow seamlessly blends lighthearted humor, social commentary, and surreal fantasy. The three parallel stories beautifully and economically unfold, with all the actors playing ancillary characters in each other’s tales. The juxtaposition of the high anxiety of Gwen with the genuine warmth of Vic set up the confrontations that ripple through each encounter. There is no situation Gwen can’t make worse nor one that Vic can’t see the best side of. The young couples’ exchanges ring true and are deeply touching. There continue to be reverberations of Midsummer with an increasing number of besotted Bottoms among the dancers and a Shakespearean-sized storm brewing. Tom often watches from the sidelines, like Puck overseeing his handiwork, though Tom has little control over any story, especially his own.
Even through the lens of a camera crew, the top notch design shines through. Powerfully directed by Malthouse Artistic Director Matthew Lutton, the staging includes several etherial dances choreographed by Stephanie Lake. Though the stage remains nearly bare throughout, there is always a strong sense of place centered around an almost-magical wardrobe (set and costumes designed by Dale Ferguson). Most of the surroundings are conveyed in light and sound with Paul Jackson’s lighting providing the eery warm glow of backstage, garish pink of a dance floor and stark whiteness of a deserted beach. The atmosphere is made more jarring by the discordant sound design of J. David Franzke. In addition to Ms. Mitchell, the cast includes Liam Nunan (Tom), Naomi Rukavina (Margaret), Glenn Hazeldine (Roy), Wadih Dona (Harry), Julia Davis (Vic), Marco Chiappi (Jim), and Natasha Herbert (Coral).
This stirring production of Away was among the first dramas uploaded to Australian National Theatre Live during the pandemic. While there is no substitute for being in a darkened room with strangers, the service (https://australiantheatre.live/) does a first rate job of sharing a range of quality work live-captured by Peter Hiscock and his crew. The concept is to allow a wide audience to enjoy these productions regardless of their location, income level, or physical limitation. Subscriptions are $7.99 per month or $74.99 per year and a free trial is available.
The Unforgettable Line 