Emerald City

Plus ça change, plus c'est la même chose! The more things change …

Have we changed so little since 1987 that this play written 38 years ago still rings surprisingly true in so many ways?  So much so that young people in the audience relate to the characters and social comment and marvel at the playwright’s “foresight”!

Emerald City stands just as strongly as it did in the days of big money, big hair and big shoulder pads. David Williamson’s perspicacious satire still bites with a bitter sting – and this production smartly directed by Mark Kilmurry allows Williamson’s words, wit and wisdom to shine.

Kilmurry and designer Dan Potra bring the play deftly into 2025. The different locations of are depicted in clever drawings that begin as monocolour sketches and gradually become more realistic. They appear as if in three frames of film footage stretched high behind the stage, setting the scenes simply and allowing the audience to focus on the characters and their words.

And there are many words. Clever words that the cast deliver with clear, biting precision. Clever words that define each character and give them truth beyond the usual two-dimensional characters of satire. These characters may be mocking the competitiveness between cities, writers, film makers, marriage partners – but this cast makes them credibly real.

Tom O’Sullivan and Rachel Gordon play married couple Colin, a screenwriter, and Kate a publishing agent. Both are ambitious and have moved from “grey” Melbourne to the glitter of Sydney though Kate does so under protest until she too makes her “creative mark”. Colin forgoes his principles in favour of money and “water views”, renounces “art for entertainment” – and allows himself to fall under the spell of shyster Mike McCord played with obvious relish by Matt Minto.

The actors take these three characters through spikey exchanges – interspersed with some of Williamson’s famous ‘one liners’ – to introspective asides that give them greater depth. Kilmurry sets a fast pace, scenes blending quickly with Morgan Moroney’s lighting enhancing specific moments including a very clever scene in a lift.

O’Sullivan takes Colin from earnest artist to covetous materialist, from success to depressive self- doubt and eventual equanimity. Gordon takes Kate on a gleeful rollercoaster that carries her beyond writing shopping lists! And Minto makes the very most of the fast-talking, deal sealing, money hungry hustler that makes McCord one of Williamson’s own favourite characters.

Danielle Carter returns again to the Ensemble to play film producer Elaine. Carter makes her elegantly aloof and socially aware. Aisha Aidara is McCord’s much younger partner Helen, who puts up with his misogynistic demands with gentle cynicism.

Rajan Velu is the merchant banker who rejects Colin’s approach but is taken in by McCord’s spieling and dealing!

Emerald City returns to the “emerald city” in a production that is contemporarily compact and pertinently pacy. Thirty-eight years old and still punching hard, this play is timeless!

Carol Wimmer

Photographer: Phil Erbacher