Murder ballads: Griffin Theatre Company’s The Bleeding Tree

The statistics are staggering – on average, one woman is killed every week as a result of intimate partner violence; one in three women have experienced physical and/or sexual violence perpetrated by someone known to them; one in four children are exposed to domestic violence, which is a recognised form of child abuse; while two-thirds of domestic homicides are committed by an intimate partner. These are not figures but people, lives which are affected and often cut short by violence and/or abuse.Angus Cerini’s new play The Bleeding Tree – winner of the 2014 Griffin Award – takes to this world with gusto and gives us a harrowing and darkly-funny play in which women don’t die, but rather get their own back at the man who has been such a violent presence in their lives.

Produced by Griffin Theatre Company, Cerini’s play unfolds upon Renée Mulder’s steeply raked and pleated stage, and his words cascade and hurtle around the little theatre, a potent and heady rush of adrenaline and relief in chiaroscuro (courtesy of lighting designer Verity Hampson). But before a word of Cerini’s script is spoken, we are thrust headfirst into the world of the play – of a mother and her two daughters – by a swirling cresecendoing soundstorm (Steve Toulmin) that shakes the theatre and our seats with unease and trepidation. It’s a powerful mix, and in the hands of director Lee Lewis, the three women – Paula Arundell as the mother, and Shari Sebbens and Airlie Dodds as the daughters – never put a foot wrong on Mulder’s steep set.

Waterloo now: STC’s Battle of Waterloo

A new play is always an exciting occasion, a debut play even more so. Kylie Coolwell’s Battle of Waterloo is a contemporary study of life in the James Cook tower in Waterloo’s housing commission estate. Begun in 2012 as part of Playwriting Australia’s Redfern Playwriting Salon, Coolwell’s play depicts the life of a family over the course of a week, in all its bloodsweatandtears, and shows just how important – how beautiful – the sense of community is in one of these residential towers.

Produced by Sydney Theatre Company in their Wharf 1 theatre, the space is filled with Renée Mulder’s ingenious set. Reminiscent of Bob Crowley’s set for the recent revival of David Hare’s Skylight, it manages to convey an intimate interior and towering exterior all at once, and seems to be a physical evocation of a line from C.S. Lewis – “there is an extraordinary charm in other people’s domesticities. Every lighted house, seen from the road, is magical: every pram or lawn-mower in someone else’s garden: all smells or stirs of cookery from the windows of alien kitchens.” While we see Cassie and her family in their little flat, marked out on a series of low platforms with walls and doors – complete with balcony – around them, we see the little strip of grass down below, the neighbours on their balconies smoking or breathing in the night air, little pockets of light in the dark theatre, and it is beautiful.

Not quite shining: Belvoir’s Radiance

Written in 1993, Radiance began its life on Belvoir’s corner stage, and after being produced around the country and internationally, and made into a film, this play about coming home comes home itself, just on twenty-one years later, to the place where it all began. Written by Louis Nowra, it is the story of three sisters – united by the death of their mother – as they gather together for her funeral after many years apart. Like so many theatrical stories of families, it isn’t long before the familial ghosts come out of the past and their reunion opens old wounds.

When dogs cry: Dudley St. Productions’ Lobby Hero

This review was written for Concrete Playground.

Kenneth Lonergan’s Lobby Hero, playing at the Tap Gallery’s intimate upstairs theatre, is a sprawling play about ethics, romance, family and ‘doing the right thing’. If you saw another of Lonergan’s plays, This Is Our Youth, at the Opera House two years ago with Michael Cera and Keiran Culkin, then you’d know that you’re in safe hands, as this production proves.

Lonergan’s play follows a security guard, Jeff, over the course of four consecutive evenings as he works the graveyard shift. His supervisor, William, visits from time to time, struck with a moral dilemma about his brother. Two police officers – Bill and Dawn – enter the lobby where Jeff works, bringing another twist or two to Jeff’s moral quandary.

Still orbiting: Griffin Independent & ARTHUR’s Return to Earth

Two years ago, after Lally Katz’s Neighbourhood Watch wove its magic at Belvoir, I set about trying to find as many of her plays as I could find, either in performance or in script form. When Griffin announced their 2013 season a year ago, I was very keen to see Katz’s Return to Earth, in its Sydney premiere, as I had heard mixed reviews of its premiere season in 2011 at the Melbourne Theatre Company. Presented here by ARTHUR as part of the Griffin Independent season, Return to Earth is very much a Lally Katz play, and I’m not sure if that’s a good thing or otherwise.

Return to Earth is about Alice, a thirty-something year old woman who returns to her family home in the sleepy coastal town of Tathra in NSW, and the impact her return has on her family, her friends, and the people she meets. In typical Katz fashion, the surreal and whimsical smashes right up against the poignant and heartfelt, yet it feels as though there is an elephant in the subtext of the play which no one is addressing.