Indeed, so powerful is the mourning scene, in the tiny, intimate space of the White Bear that I'd have to recommend that anyone who has suffered a recent bereavement not see this play — the raw emotions displayed on stage could be truly disturbing.
The characters very soon stop appearing as symbols of their cause and show both their sympathetic and rougher sides. Indeed if there was to be a structural criticism of this play it would be that each character is almost exactly the same shade of medium grey — the same mix of white good intentions and black hate. There is an exception with the innocent eight-year-old Jodie -- a character played very skillfully by the adult Joni after some initial excessive bobby-socks swinging -- yet you do wonder if this complication is necessary; she might have worked just as well as an off-stage presence.
Ley does, however, deserve praise for his careful attention to the language of the play. The full colourful possibilities of the Australian form of English are fully explored and offer most of the much-needed lighter moments: "He comes across like a squinty-eyed weasel trying to hide a hard-on" being one of the more memorable insults.
But without a doubt it was the fast-moving, gripping plot that held the first night audience spellbound, and the political complexity of its underlying debate that left them talking passionately in the bar afterwards. Together these elements came together to create a powerful show, one that could easily hold its own in a larger venue.
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