Blood Bank

Blood Bank
By Christopher Harley. Ensemble Theatre, Sydney. October 16 – November 22, 2015

The cold, antiseptic environment of a hospital waiting room is not the usual setting for a love story. Especially one that playwright, Christopher Harley admits is one “so fragile it might shatter in your hands”. It’s a beautifully touching story about two brothers and a ghost from their childhood that haunts them even as one of them faces death – and a woman who reaches out and won’t give up … because she understands.

In the hands of this thought-provoking new Australian playwright these three characters connect in a way that is convincingly real. With economic dialogue that is unnervingly natural he carefully reveals their fragility – and their strength – as he weaves their lives together.  

Anthony Skuse makes his directorial debut at the Ensemble with Blood Bank. And it is just the sort of play that suits his production style. It gives him scope to concentrate with his cast on delving deeply into the characters, deciding what makes them tick, why they react as they do … and any little idiosyncrasies this suggests. His sensitive, intuitive style has worked exceptionally well with the two young actors that play these intriguing roles.  

Gabrielle Scawthorn is superb as Abbey. She finds the underlying buoyancy, confidence and self-awareness that Abbey has had to learn from life. A very talented performer, she creates an Abbey who is totally engaging. Using her expressive eyes, seemingly unstudied gestures and perfect timing she finds the cheeky humour that Harley has built into her craftily written lines – and the compassion that motivates her character. Abbey is curious, a bit gauche, blatantly outspoken and direct. She’s learnt not to be diplomatic! She’s also learnt it’s important to connect, to understand – and, where possible, to offer hope. And Scawthorn encapsulates all of this in a truly impressive performance.

Naturally Abbey reaches out to brothers Justin and Michael, when she sees them in the waiting room. Justin is undergoing treatment for cancer. Michael is waiting to donate blood for his brother. Both are facing the fear of losing each other, but there is also some family baggage that is a heavy burden to Michael. There is also a lot of unspoken emotion. In her own awkward, beguiling way, Abbey brings the gift of love and forgiveness.

Tom Stokes plays both young men with compelling understanding, morphing from one to the other seamlessly in a matter of seconds, yet sustaining the depth and complexity of the emotion that motivates each of them.

As Justin he is accepting but never quite resigned about his prognosis. He finds in Abbey’s humour and frankness a strength that evolves into a shared, empowering love.

As Michael he huddles inside himself, struggling with a long-held guilt that is exacerbated by the turmoil of the present situation, a silly argument and the extra guilt that arises from his own stubbornness.

As he moves from brother to brother, Stokes captures the delicate juxtaposition between facing death and grieving that Harley reveals through these characters. As both, his performance is believably moving and poignant.

Meredith Penman plays a duty nurse with a bit of a hard streak (especially with Abbey, whom she just tolerates) and a lot of understanding and compassion. She is also very effective in a tiny role as a chemotherapy patient who is not amused by Abbey’s persistence!

Tobhiyah Stone Feller’s austere set and Nicholas Higgins’ subtle lighting is backed by haunting music composed by the playwright – and a high, wide screen on which videos (designer Tim Hope) of a much younger Justin and Michael depict the past that has shaped their present.

This is another stunning production for the Ensemble – and for Harley, Skuse and their remarkable cast and crew.

Carol Wimmer

Photographer: Clare Hawley

Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.