Myth, Propaganda and Disaster in Nazi Germany and Contemporary America

Myth, Propaganda and Disaster in Nazi Germany and Contemporary America
By Stephen Sewell. Rondo Theatre, Cairns. Directed by Kevin West. 10-18 September, 2021.

Stephen Sewell’s award winning play is given justifiable quality treatment by director Kevin West and his group of talented Cairns Little Theatre actors. Set in New York City shortly after 9/11, the story revolves around free-thinking Australian New York University accused of inappropriate behaviour with a student. To top it off he is also visited by an unnamed, mysterious thug with a gun who is bent on destroying Finch’s career.

Matt O’Connor as Talbot portrays a man who finds his career being slowly destroyed. This is a riveting performance by O’Connor, who looks every inch the part as his character heads down the road to total destruction; from luxury Manhattan apartment to manacles.  

Sarah Moore plays Talbot’s script writing wife Eve, in a strong portrayal of a woman obsessed by her work, but shocked by what is happening to Talbot. Eve is the poet in the play, one who becomes a ‘terrorist’ herself in her frantic search for her missing husband.

Newcomer Azizah Pertiwi gives a powerful performance as Margurite, the student who accuses Talbot of inappropriate behaviour. Her acting was so realistic.

Veteran actor Jim Gosden is terrifyingly brilliant as the gun wielding thug who intimidates Talbot. He’s friendly one second, violent the next. He also constantly refers to Kafka’s The Trial as he intimidates Talbot.

In supporting roles Adrian Norman as Jack the university professor, gives a solid performance as does the very American-looking Vincent Strange as Stan, the university lawyer. The Stan-Jack scenes could have been expanded by the playwright. There was plenty of good drama for both characters as they discussed Talbot’s future and the future of facts over free-thinking ideas.

The production itself was smoothly done on a minimalist set with the many scene changes accomplished effectively with the help of good lighting and acting. The explosion at the end was a surprise.

On the play itself, those looking for answers to the many questions that need clarification about events leading up to and on 9/11 will be disappointed. The play answers none of these. Instead it concentrates on the level of security, surveillance and free-thought in a supposedly open society. In this it succeeds.  

Ken Cotterill

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