Sweet Phoebe

Sweet Phoebe
By Michael Gow. Directed by Anthony Skuse and Suzanne Pereira. Old Fitz Theatre, Sydney. 1 – 12 November 2016

Helen and Fraser are a pretentious and privileged Sydney couple. Their relationship is hardly comfortable – attempts at intimacy are awkward – but their lives are turned upside down when they look after their friends’ dog. Sweet Phoebe runs away and they become desperate, doing increasingly strange things, in an attempt to find her.

This little canine, it seems, has given their lives the purpose they need. They traipse across Sydney – from Kellyville to Canley Vale to Maroubra – following supposed sightings. Whether they’ll find Phoebe becomes almost irrelevant. Helen, particularly, seems to discover startling things about herself – and her partner – as she meets strange dog-lovers and other people in the quest. Their relationship is tested and it’s not clear if they’ll survive this test.

Michael Gow’s short, one-act play is a satire of the lives lived by some of the most superficial types you’ll find in modern society. They have little self-awareness. And while a dog provides a shift in focus from their meaningless advertising and designer jobs, they still struggle to reflect on the consequences of their actions.

Despite all this, Charlotte Hazzard and Alastair Osment make Helen and Fraser at least somewhat likeable, largely through humour. As emerging actors, they show much potential, particularly Hazzard, who has grace and a strong presence.

This is a strong production, carefully directed with a simple but effective set. Suzanne Pereira, under the guidance of Anthony Skuse, keeps the action pacy and concise. Although it is not clear why we have a percussionist performing live. Angela Lan does a nice job but the use of a drummer adds little.

Gow’s dialogue is witty and entertaining but ultimately the two characters he’s written are hard to care for. They may be struggling in their relationship but considering how they treat each other – and everyone else – we need much more to sympathise. And even though Sweet Phoebe is short, it drags, perhaps again because the characters are not strong enough.

Sweet Phoebe, which is now almost 20 years old, is a light and enjoyable night out at the theatre but it doesn’t leave you with much. It may be too late for further development but that’s what it needs.

Peter Gotting

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