Black and White

Opening to the strains of Chris Isaak’s ‘Wicked Game’, the bedroom scene features newspapers strewn around and a couple waking in the morning…his pillow black, and hers white. The storyline is anything but black and white. It’s one that would resonate with at least some of the audience, involving mental illness, physical and psychological abuse. Eighteen year old Alison (Krysia Wiechecki) has moved from the family home to cohabit with Peter (Phil Barnett), an older man who tries to control and manipulate her behaviour. He, it emerges through a series of flashbacks, collects apple cores and old newspapers, hoards her undies, criticises her hem length (it is too short), demands sexual favours at whim and generally shows no insight into his mental condition. Or does he? She on the other hand has a demanding role in reacting to his accusations. We are sympathetic to this character. Is it because of her naiveté, youth, her lack of self worth, lack of family support or dare I say it, love and genuine concern for him, that she doesn’t get the message? She keeps coming back for more. It’s only in the very confronting final scene that the last thread breaks- the ultimate assault and we are left somewhat reassured of her escape- or are we? We were all left on the edge of our seats.

Director Danielle Ashton elicited excellent performances from these two actors; Wiechecki, tapping the depths of her emotions as the young girl, one moment affectionate and loving, the next, angry and despairing, and Barnett, suitably vague and delusional with the occasional vestiges of normality. This play was awarded best overall production, best original play, best male actor and best female actor at the recent Hills Festival of Theatre.

Glenda Prideaux

Image: Award-winning actors Krysia Wiechecki and Phil Barnett reprise their roles in Black and White this November.