Bliss

Adapted by Tom Wright, Artistic Associate of Sydney’s Belvoir Theatre and directed by Matthew Lutton, Artistic Director of Melbourne’s Malthouse Theatre, this twin-company adaptation of Peter Carey’s first novel Bliss should be a winner. The fact that it isn’t has nothing to do with the cast, who give their all during its three-hour running time.

Written in 1981, Carey’s award-winning work was a savage and scintillating bombshell. It (and the play) concerns advertising executive Harry Joy (Toby Truslove), who has a heart attack on the front lawn of his Sydney home. After nine minutes of ‘death’, he unexpectedly recovers only to find his life has become Hell: his wife Bettina (Amber McMahan) is unfaithful, his son David (Will McDonald) sells drugs, and his daughter Lucy (Charlotte Nicdao) is not only a communist but is having an affair with her brother.

He also learns that his company and his workmate Alex (Marco Chiappi) are spruiking carcinogens. Harry, a loose, louche adman to this point, must now fight his way clear, together with Honey Barbara (Anna Samson), the hippy prostitute he meets on the way.

The trouble is that whereas the book concentrates on Harry’s bleakly funny journey, the play wants to give equal time to the women in his life. Bettina and Honey share a broad spotlight with Harry: hence the length and diffuse nature of the play.

Director Lutton drives his cast hard. They do most of the constant set changing as well as the occasional musical number, and the eight actors go full steam ahead playing male or female. Toby Truslove is brilliant as Harry, falling hard into a new world of self-knowledge. Susan Prior is exceptional as an Italian/Aussie waiter and the manager of a mental health institute.

The setting by Marg Horwell features a revolving platform that either spins throughout a scene or remains static for long periods.

Frank Hatherley

Photographer: Pia Johnson