Brisbane

Matthew Ryan’s Brisbane is a poetic coming-of-age play that deals in abstract reminders of the past in a non-linear narrative. Therefore director Bruce Parr’s decision to stage it as an ensemble piece with all cast members seated on stage using minimal props helped give the playwright’s vision clarity. By the use of a table here and chair there, situations and locations were quickly established in the blink of an eye like a fragment of memory.

The play is built around the dreams and experiences of 14-year old Danny Fisher, his adolescent stories, his schoolyard bullying, his hero-worship of his older RAAF flying brother Frank, and his sexual awakening with his best friend Patty. It’s a big role and whoever plays it has to have exceptional talent. Fortunately Villanova have found him in newcomer Bryson Morris McGuire who had empathy, wonderment and compassion, mixed with some brilliant comic timing that raised the performance level time and time again.

Matching him at the same performance level was Dayna Ekundayo as his schoolmate and best friend, the physically incapacitated Patty. With her dirty mouth and no nonsense attitude she lit up the stage at every appearance. Their unspoken bond was the crux of the drama and her taking control of the situation when Danny fumbles to remove her bra, resulted in the funniest scene in the play.

Their growing up is played out against a backdrop of Brisbane in 1942 when the town is overrun with American servicemen, General MacArthur has drawn the infamous “Brisbane Line”, and the Japanese have bombed Darwin.

Michael McNish did double duty as Danny’s big brother Frank, and his American look-alike Andy, displaying genuine brotherly love in the former, and a happy-to-help flying instructor in the latter. Danny’s parents were nicely etched by Tom Coyle and Michelle Malawkin, whose suffering at the loss of Frank who dies in the bombing of Darwin tears the soul out of them both. Oliva Pinwell captured the emotional ambivalence of Rose, the suitor to both Frank and Andy, whilst a series of cameos were nicely drawn by Cameron Gaffney, Jonny Bentley, Darcy Jones and Robyn Kearney.

Occasional grabs of forties big-band sounds created a period ambience, while trousers with braces, hats, coats and uniforms added to the look of the era. Ryan’s Matilda Award winner couldn’t have been in better hands. Villanova did him proud.

Peter Pinne