Review: THE PEACH SEASON Tells Of Love And Growing Up

Reviewed by Barry Lenny, Friday 10th March 2016

The University of Adelaide Theatre Guild is opening its year with The Peach Season, by Australian playwright, Debra Oswald, under the direction of John Graham. Graham plays it by the book with a straightforward interpretation of the script.

Celia took her baby, moved to the country, and bought a peach farm after her husband was violently killed as a bystander during a robbery in Sydney. Sixteen years later, she is still enjoying her peaceful existence, but her daughter Zoë is at that age when peace, quiet and isolation have less appeal.

The arrival of a half-brother and sister, Sheena, the older of the two, and the rather scatterbrained Kieran, seeking work to raise money to repair their car and continue their journey is the catalyst for change. Joe, the lawyer son of Dorothy who helps in the packing shed, assisted by Zoë, found them stranded and it was his idea, knowing that it was the time to pick peaches and that Celia was looking for seasonal labourers to help her, the regulars not having yet arrived. Although they had never done that sort of work, the siblings are keen to earn money and pitch in, quickly mastering the job.

Much to Celia's dismay, Zoë falls for the young man and they begin a relationship. In desperation, Celia has the car repaired and gives Sheena all the money that she has on hand so that they can leave, on the proviso that they do not take Zoë. Zoë and Kieran, though, take the car and go off together, without Sheena.

In the end, all turns out well in what is a rather weak happy ending that feels rather contrived. The only thing missing is somebody saying "they all lived happily ever after". It is a pity, as what precedes that ending is well-written and translates to a good production, with plenty of highs and lows, offering opportunities for humour and drama.

It is about a mother's love and having to let go of the woman/child she has cared for and protected, as well as about the discovery of young love, sex, and a desire to break free of parental control. There is conflict between Celia and Zoë, and their opposing desires, but never to extreme levels that could lead to permanent separation and lifelong silence, or open hostility.

Emma Kerr plays Celia, clearly showing the weight that she is carrying through the lack of seasonal workers, threatening the loss of the peach crop, and the disturbing changes appearing in her relationship with her daughter.

Zoë is played by Zoe Muller, who gives us a very lively interpretation of the emotionally repressed teenager, full of life and energy and ready to explode when the opportunity presents itself, embracing all that the two strangers bring with them.

Ellie McPhee is Sheena, displaying a protective instinct towards the wayward Kieran, and suggesting that she is on the run for him, but we get hints that she is also travelling for reasons of her own that she keeps to herself. She brings a quietness and hints of sadness to the character.

Kieran is played by James Watson, who gives us the feeling that his character lives from day to day, with no thought to anything bad from yesterday or any danger that might be waiting tomorrow. It is Sheena watching out for him that is keeping him out of jail as he drifts through life with the Devil-may-care attitude that attracts Zoë, something that Watson embraces well.

The role of Dorothy, in effect, the Greek chorus of the play, is filled by Susan Nelle, whose regular monologues delivered directly to the audience elaborate and comment on what is happening. Within the narrative, she is like a de facto mother to Celia and grandmother to Zoë.

Joe is played by James Black, Making the most of a minor role with a solid and believable characterisation.

Timothy Tedmanson's set, cleverly simple, evoking the orchard and the buildings, including espaliered trees full of fruit for the cast to pick, is all complemented by projections on the upper level wall above the stage. Scott Cleggett's lighting design does the rest. Rachel & Narelle Lee top it all off with the costumes.

This is a pleasant enough drama, with a few laughs, and makes a good start to the Guild's year.

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