Review: A MAN WITH FIVE CHILDREN at Eternity Playhouse

There is no legend, living or dead, whose art hasn't been compromised in some way by fame. Those built to last are often those who turn their creative lens onto fame itself, exorcising their demons and their reputation in pursuit of true expression. Many in the Australian theatre scene believe homegrown and widely acclaimed playwright Nick Enright was built so, and if not for his death in 2003, A Man with Five Children would be far from his final comment on fame, relationships and the Australian lower-class. Nonetheless, entering into that bare stage, lone camera and scattered chairs at Eternity Playhouse, the tragedy of Enright's passing and of the impending narrative was acute.

Out stumbles Jeremy Waters to turn on the camera, live projecting onto the humble rear wall of Eternity Playhouse, the first of Tim Hope and Georgia Hopkins' design delights. He requests the right to tell the stories of Australian children, the five of the title who all rush out to meet him in a flurry of 70s stereotypes. Indigenous budding altruist Jessie, smart and wealthy Asian Roger, doctor's daughter Susannah, rebel dropout Zoe, and sporty asbo Cam. We skip through their earlier years quickly where the issues for and between them are compounded by the fame and notoriety from being part of filmmaker Gerry's (Waters) opus. Culture, suppression, and chasing dreams thread through all their stories as their relationship with Gerry becomes more involved in anticipation of their 21st birthdays when the contracts are intended to end. In spite of all their better judgement, however, each agree to another decade, when the boundaries really begin to be crossed, heading the sextet for love, independence, and disaster.

Insights into the labour-driven multicultural mix of Australian society are frequently fraught with themes of cultural disconnect, domestic discord and struggle with opportunity we are afforded in our part of the world. Enright predicted many of these themes, although the text skims over much of the depth they have to offer, and therefore the play has not necessarily aged gracefully. The performances are what give the play much of its energy, and it is quite the emotional filibuster. Charlotte Hazzard's Susannah plays the successful millennial with grace and a mastery of expressing latent power in her performance. Taylor Wiese was on-beat at every second, gearing a seamless performance, which made it a shame he lost much contribution in the second half. Chenoa Deemal's Jessie seemed reserved, but was nonetheless entrancing in her almost subconscious delivery. Anthony Taufa as Zoe's husband Doug similarly knew how to give a naturalistic performance without backing off too far. Aaron Tsindos' Theo was as adorable as relatable, showing as much growth in his arc as any of the lead characters. With Waters to anchor all these performances, he provided real commitment to that phenomenal task, showing authentic wear by the end of the show.

Australia's history is almost another character in the show, and director Anthony Skuse allowed that character to shine through most commendably. Hope and Hopkins' projections punctuate the action to give real echo and resonance to the themes of exploitation and value of human life, in some ways laid to waste in the larger story. The decision to keep various characters around to observe the action as they, and the Australian public, and indeed the audience would do created the meta ambience that kept suspense taught throughout. Although the decision to keep Roger on as a Banquo's ghost-type presence took the play into a more warped place than might be to some tastes, A Man with Five Children is nothing if not a confronting, voyeuristic journey designed to take people through the moral knot Gerry gets wound up in searching for artistic genius. Discussion generated in the foyer was as stimulating to have as to eavesdrop on, and that seemed an all-too-fitting metaphor for what Enright was trying to convey about the nature of people seeking affirmation in our modern world. Long may his vision reign.

Photos by Helen White.

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