Grain in the Blood

Grain in the Blood
By Rob Drummond. Presented by Virginia Plain, in association with bAKEHOUSE Theatre. Direction and Set Design by Victor Kalka. At KXT, Broadway, Sydney. 23 February – 9 March, 2024

A thriller comes to Sydney’s Broadway. Usually thrillers belong to the cinema, but this one is definitely a theatrical event, with a moral dilemma in a creepy setting in a country far, far away. Where are we? What style of language am I hearing? We are definitely deep in the back-blocks but, with no program to aid me, I had no idea where. And when I obtained the brief program downloaded onto my phone, I still had no idea.

But here’s the cinematic moral dilemma: a young girl is dying in outback Scotland (I later learned) and the only one who can save her is her father, who is on short-term release from prison. Held together by the intensity of the actors, as well as a great script by up-and-coming Scottish writer Rob Drummond and sharp no-nonsense direction from our own Victor Kalka, not a moment is wasted.

14-year-old Autumn (Kim Clifton) is in dire need of a kidney transplant. She has never met her jailed father Isaac (Ciaran O’Riordan), the only family member left with a kidney that exactly matches Autumn’s. Grandmother Sophia (Siobhan Lawless) has given permission that Isaac, accompanied by his minder Burt (Nick Curnow), visit them and agree to donate his kidney. But vengeful Aunt Violet (Genevieve Muratore) doesn’t like Isaac and could stand in the way.

Young Autumn is blessed with a foul mouth and Burt’s alcoholism looks certain to get in the way, but the professional minder is surprisingly likeable. Rob Drummond’s script is brimming with great one-liners, especially when Autumn starts using her true-blue language. We learn that Autumn’s mother was named ‘Summer’.

Kim Clifton gives a sensational performance as Autumn, looking every bit as helpless and vulnerable as the part requires, and exactly the right age. Nick Curnow fills Burt with intensity and proffered help. Siobhan Lawless and Genevieve Muratore give full-throttle performances, and Ciaran O’Riordan is seething with my-turn vindictiveness.

Cheers to Virginia Plain for latching onto this piece, which ideally suits them. Victor Kalka’s setting and general direction is quite splendid.

Frank Hatherley

Photographer: Clare Hawley

 

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