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LET THE SUNSHINE
Submitted by Annette Magro on Thursday, 5th Aug 2010
His latest play is, like most of its predecessors, a wry examination of a microcosm of Australian life. In this case, we are privy to the lives of two couples – baby-boomers – and their 30-something offspring. The tension lies in the disparity between the couples. Both are affluent; however their views on the world could not be more different. We are first introduced to Toby, a celebrated maker of serious documentaries, who is about to turn 60. His wife, Ros, a publisher, wants to celebrate this milestone with friends. Unfortunately, Toby and his scathing views about coastline development and capitalism in general have alienated just about everyone they have met in Noosa. Natasha (nee Jocelyn) is an old private school chum of Ros’s (well, sort of…), and she finally succumbs to the invitation. Her husband, Ron, a conservative, slightly sleazy white-shoed developer who has made millions from converting Noosa from natural landscape to high-rise luxury is appalled but goes along for the ride. Natasha and Ron’s daughter, Emma, is a successful lawyer on her way to partnership in a merciless corporate Sydney firm. She is visiting at the time of the birthday “celebration” as is Ros and Toby’s son, Rick, a talented but not successful songwriter who earns his keep as a bartender. After initially repelling each other in the mode of their parents, they fall in love. And that’s when the serious fun begins….
Indeed, Let the Sunshine is a funny play. But is it Worthy? The first run of any Williamson play is inevitably accompanied by a flurry of media attention focussing on the ongoing feud between the playwright and some critics of ‘serious’ theatre. Their beef is that Williamson’s plays offer little more than light satire. There is no depth and, therefore, artistic merit to his productions, they say. Furthermore, they are concerned that government funded companies, such as the MTC, should be using their resources to produce lesser known, more challenging talent. The MTC would reply that they are only partially funded, and it’s popular fare such as Williamson’s that puts bums on seats, which in turn provides the funds to produce more experimental theatre that might not cover its own costs. There are many, too, who would challenge the notion of Williamson’s plays being overly light. While Let the Sunshine is unquestionably entertaining, it does throw out challenges of its own. When does standing up against poverty, inequity and war, for example, cross the line into self-righteous moral superiority?
Back to Three Days of Rain: I suspect that those critics of David Williamson would have approved. It was dark with complex characters and uncomfortable themes – a risky undertaking. And it pulled it off; it was exciting theatre. Let the Sunshine is not exciting theatre. However, it accomplishes what it sets out to do: highlight in an arch, humorous way the attitudes and relationships of familiar characters. This witty, insightful story is more than ably told by the MTC team.
Date of Show:
Saturday, 31st July 2010 (All day) The Montagues versus the Capitalists!
My last review was for an amateur production of Three Days of Rain, so it seemed fitting to set my next cap to another meteorological phenomenon. Let the Sunshine is, indeed, a brighter, shinier presentation. Set in Noosa and Sydney, this is yet another offering by Australian playwright, David Williamson who could, himself, be described as a phenomenon. A more prolific and successful writer (plays, television and film screenplays) would be hard to find. Even if they haven’t actually seen them, most theatregoers would be familiar with Don’s Party, The Club and The Removalists. Not so well known, perhaps, is his Golden Globe nomination for his adaptation of Neville Shute’s On the Beach. Williamson also provided the screenplay for Gallipoli and Phar Lap. This is just a snippet of his productivity.
His latest play is, like most of its predecessors, a wry examination of a microcosm of Australian life. In this case, we are privy to the lives of two couples – baby-boomers – and their 30-something offspring. The tension lies in the disparity between the couples. Both are affluent; however their views on the world could not be more different. We are first introduced to Toby, a celebrated maker of serious documentaries, who is about to turn 60. His wife, Ros, a publisher, wants to celebrate this milestone with friends. Unfortunately, Toby and his scathing views about coastline development and capitalism in general have alienated just about everyone they have met in Noosa. Natasha (nee Jocelyn) is an old private school chum of Ros’s (well, sort of…), and she finally succumbs to the invitation. Her husband, Ron, a conservative, slightly sleazy white-shoed developer who has made millions from converting Noosa from natural landscape to high-rise luxury is appalled but goes along for the ride. Natasha and Ron’s daughter, Emma, is a successful lawyer on her way to partnership in a merciless corporate Sydney firm. She is visiting at the time of the birthday “celebration” as is Ros and Toby’s son, Rick, a talented but not successful songwriter who earns his keep as a bartender. After initially repelling each other in the mode of their parents, they fall in love. And that’s when the serious fun begins….The cast is faultless, and the simple set (long bar and stools - all stark white along with the floor and walls - with backdrops to denote either Noosa or Sydney) allows the actors to “strut their stuff” and make magic with the witty and lively dialogue. Jackie Weaver (Ros) and John Wood (Ron) – well known Williamson veterans – fulfil expectations, and Robert Coleby is particularly loveable in the role of flawed but earnest Toby (to this reviewer and her female companion, anyway…). Andrea Moor obviously relishes the character of Natasha (nee Jocelyn) and provides beautifully timed laughs. Paul Ashcroft perfectly captures the angst of the artist on the cusp between youth and middle-age who must decide between creative purity and financial success. But it is Rachel Gordon as the stressed, strained and strident Emma who steals the show. To this Chardonnay Socialist (yes, I admit it), everything about Emma should have been off-putting: her apparent emulation of her father’s politics and her disdain for anyone less achieving (read ‘Everyone’). Yet Gordon manages to make Emma immensely likeable from almost her first moment on stage. She perfectly depicts the struggle Emma must deal with: whether or not to allow herself to be vulnerable. And Gordon is very funny.
Indeed, Let the Sunshine is a funny play. But is it Worthy? The first run of any Williamson play is inevitably accompanied by a flurry of media attention focussing on the ongoing feud between the playwright and some critics of ‘serious’ theatre. Their beef is that Williamson’s plays offer little more than light satire. There is no depth and, therefore, artistic merit to his productions, they say. Furthermore, they are concerned that government funded companies, such as the MTC, should be using their resources to produce lesser known, more challenging talent. The MTC would reply that they are only partially funded, and it’s popular fare such as Williamson’s that puts bums on seats, which in turn provides the funds to produce more experimental theatre that might not cover its own costs. There are many, too, who would challenge the notion of Williamson’s plays being overly light. While Let the Sunshine is unquestionably entertaining, it does throw out challenges of its own. When does standing up against poverty, inequity and war, for example, cross the line into self-righteous moral superiority?Back to Three Days of Rain: I suspect that those critics of David Williamson would have approved. It was dark with complex characters and uncomfortable themes – a risky undertaking. And it pulled it off; it was exciting theatre. Let the Sunshine is not exciting theatre. However, it accomplishes what it sets out to do: highlight in an arch, humorous way the attitudes and relationships of familiar characters. This witty, insightful story is more than ably told by the MTC team. Highly recommended for those who like quality, entertaining theatre (and need a break from the experimental stuff).
Annette was smitten with theatre from her very first pantomime (as a 4 year-old audience member). A lover of film as well, it is the energy of live theatre that really gets her pulse pacing. Despite this early and sustained love of plays, Annette was a late comer to the transition from audience member to production team. At the ripe age of 30, she performed in her first amateur production, a 1-act play called Dark Brown with Sydney outfit Ryde Theatre Company, and was hooked. Moving to Melbourne soon after, Annette joined Eltham Little Theatre and was fortunate to have been involved in several shows before producing her own little 'troupe'. Taking a break from performing to fully enjoy motherhood (plenty of theatrics there!), Annette feels most lucky to maintain a link with the magic of theatre through Theatre People.
State:
VIC