A couple in crisis. A child reciting twisted limericks. A manic nurse. A grand piano. Blood. All the signs are there: you’re taking a journey to the dark side of suburbia in the Sydney Theatre Company’s new production, The City.
This story canvasses the universal issues of oppression, classism and sexism from a Russian, rural, working class perspective pitched against a backdrop of Christian morality.
It’s a lovely set up, with carefully considered characters that are well observed, and as the play progresses there is a nice sense that this pair have much more in common than it first appears.
A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
Blind faith and rational belief are always sparring partners in dramatic conflict and so it is here with the power play tinged with superstition and salaciousness.