Never Have I Ever

Never Have I Ever is a new play by British Australian comedian Deborah Frances-White, host of podcasts The Guilty Feminist and Global Pillage. A wry look at modern relationships, feminism, racism and social privilege, it features a small strong cast and is very funny while raising real-world, very contemporary issues.

With Jacq and Kas’ modern restaurant about to close due to financial issues, they invite old friends Adaego and Tobin for dinner, to let Tobin know that his investment has been lost. Playing an after-dinner drinking-game, "Never Have I Ever”, old truths are revealed and there is a drastic swing in how the evening progresses.

Bryan Woltjen’s set design beautifully creates up-market restaurant Masada, complete with large windows to the street, and the restaurant’s special touch - cooking facilities at each table. Also visible is the restaurant’s nicely stocked wine cellar - the first time I have seen The Heath Ledger’s orchestra pit in use, and it is used unconventionally. Emotively lit by Lucy Birkinshaw, the burners at each table are used to unusual effect and Rachael Dease has provided very modern, very vibrant and very loud composition and sound design.

Despite the high production values, this is a character driven show, so great performances are paramount, and we are given an ensemble cast that work beautifully as a team and create believable, vibrant and layered characters. Emily Rose Brennan has wonderful spark as Jacq, the closest we have to a protagonist. Played with passion, and showing outstanding passion, her reaction and conflict when given a tempting but ethically questionable offer is palpable. Deep Sroa, a WAAPA graduate making his professional debut, is excellent as her business partner and would-be fiancé Kas - quiet and gentle who reveals hidden passion. 

Ratidzo Mambo is impressive as writer Adaego, wearing the black feminist banner with pride, married to wealthy and strongly opinionated Tobin, a seemingly shallow man, played with depth by Will O’Mahony.

Teamwork is clear within this ensemble cast, with strong pace, smooth transitions effected by the cast and believable intimacy (coordinated by Catherine Moore) and fight scenes (directed by Natassja Norwood)

Great to see new work raising interesting and important issues, superbly performed.

Kimberley Shaw

Photographer: Daniel J. Grant