Straight White Men

Straight White Men manages the rare feat of being both a deep, thought-provoking piece of social commentary and a side-splittingly funny comedy that leaves the audience feeling invigorated by its wildly impassioned energy. Korean-American playwright Young Jean Lee cleverly deconstructs both contemporary notions of masculinity and white privilege, but without being condescendingly preachy or completely unsympathetic. Most surprisingly, the snarky wit of her dialogue is matched only by the depth of emotional empathy present – both of which are enormously enhanced by the lively physicality of the cast and a rousing techno soundtrack from seasoned DJ, Busty Beatz.

The basic plot setup will be familiar - Ed (Roger Newcombe) is a baby-boomer who achieved some success as an engineer in his youth, and has settled into a comfortable middle-class retirement. But he is still grieving for the loss of his wife some years prior. The lonely old man invites his three grown-up sons – neurotic novelist Drew (Lucas Stibbard), arrogant banker Jake (Chris Pitman) and temp agency drone, Matt (Hugh Parker) – to stay with him at his house over Christmas. As the alcohol flows, the three sons revert to juvenile behaviour, revisiting the board games and music of their youth, as well as obsessing over unresolved adolescent squabbles. All four men have a lot of pent up insecurities about their role as men in the modern world and the course their lives have taken, this too comes to the boil in a series of heated arguments.

This easily could’ve been a depressing slog, but one can’t help but smile when this cast goes to work - Newcombe brings charm and dignity to the role of a bungling, but well-intentioned patriarch. Pitman’s flamboyant petulance makes Jake a supremely amusing ass, and plays well off the prissy whining of Stibbard - who busts out some compellingly weird dance moves as Drew. Parker brings subtly striking nuances to the morose, emotionally confused Matt. As a family unit, the four actors have a solid chemistry that hints at the underlying affection lurking beneath the surface antagonism.     

Scene transitions occur in full view of the audience, with stage hand Alexis West emerging as a kind of character herself, making the audience chuckle with her sly looks and gestures that break the fourth wall. Sets, props and costumes all have a fittingly “homey” feel, adding to the disarming intimacy of this confronting, yet sensitive work.

Benjamin Orchard

Images: Chris Pitman, Lucas Stibbard and Hugh Parker in Straight White Men. Photographer: Kate Pardey.