Its the summer of 1967, and three families head away for a beach holiday trailing their cares and woes. Roy and Coral are grieving the loss of a son killed in Vietnam. Harry and vic want one last happy holiday with their terminally ill son, Tom. Meanwhile, the angry Gwen who finds the ways of a changing Australia disturbing and challenging, is determined to have a perfect holiday with husband Jim, and feisty daughter, Meg, who met Tom in a school production of A Midsummer Night’s Dream. All are drawn together, with pent up neurosis and worries, when a wild storm lashes the campsite releasing a cathartic intervention that channels reconciliation, acceptance and healing.
The scene is set ready for peeling the raw layers about the Australia back then and the way families were always defined. The sentiments universal. There are no wasted words or characters. Michael Gow paints everything vividly.
Australia is at a social crossroads, growing up as a nation, reckoning with the past and seeding the future. The crew of the Theatre on Chester filter all this incisively honing into people’s lives- ordinary folk- with depths and artistry.
The silver-haired audience including your reviewer easily identified with Gow’s portrait of summer holidays with caravans, beachside shacks and cheap camping grounds, an image powerfully nostalgic for some, perhaps less so for the current generation.
At its heart the play is about grieving, but AWAY shows us that grief can be a transformative experience. There is always a responsibility in showing how our parents were trying to ensure a better and happier future for us than they experienced themselves.
There is a strong nod to the individuals’ responses to death, racism, class and relationships. The excellent cast extrapolate wonderfully the growing desire in Australia for social change, intense anti-Vietnam War protests, and the rise of Women’s Liberation Movement. By mixing domestic grief with music, clowning and the supernatural with a the theatrical storm, the actors pulled-off a brilliantly ambitious play that’s emotionally resonant.
Director Carla Moore manages superbly a complex play.Characters jump in and out of monologues and soliloquies, crafting comedy and tragedy. On stage, the well articulated actors make light work of the play, putting together a memorable production..
A simple, effective and uncomplicated set design is created by the ebullient Carla Moore wearing a different hat, is visually impactful, allowing the stage space to be fully utilised considering the many scene changes.
Coral is played with grace and sympathy by Karen Pattinson keeping the role anchored, and far from a one dimensional portrayal
The character that touched my heart is Gwen played magnificently by Anna Desjardins who walks the tightrope between angst and neurosis perfectly, invigorating the rest of the cast. Harry and Vic played by Ian Boland and Tracey Okeby Lucan create a sympathetic duo of an immigrant family from England, who despite knowing the fate of their son, put on a happy facade. Gow endows Harry with the perspective of making the most of what you have in life. Tom played well by Lucas Dockrill shows his latent talent for theatre effectively.
Costuming by Joy and Tony Sweeney places the play firmly in its original context with a naturalist design. Props were by Luke Wallyn. Lighting and sound are nicely orchestrated by Mike Brew and Charlotte Wiltshire.
This was a very satisfying revival of Michael Gow’s exceptional play.
