Other Desert Cities

Robin Baitz’s writing is particularly recognisable for his ability to capture dysfunctional American family dynamics. Other Desert Cities is an intense example of his work and the way in which the personal is especially political in the US. The increasing role of politics in interpersonal relationships is particularly evident in this story. Brooke (Jen Bush) spends Christmas eve in her parents’ Palm Springs, California home. Lyman (Phil Lambert) and Polly (Lindy Yeates) are staunch Republicans with strong connections to Bush and Reaganite politics. This is also expressed in their strong connections to the entertainment industry, and their talent for writing and sardonic humour has been passed on to their children. Brooke is a novelist and Trip (Liam Gillespie) writes for television. However, Brooke and Trip are at the opposite end of the spectrum of politics to their parents. The disturbing family divisions hinge upon these contrasting world views and harbour a dark secret in relation to their absent brother Henry.

The family divisions are especially brought to a head when Brooke threatens to publish a memoir which threatens to expose the details of this secret. Polly’s sister, Silda (Paula McDonald), is also caught up in the family intrigue as she sides with Brooke. This is a play that recounts the source of an increasingly polarised American society and explores how this is played out in everyday exchanges. It captures some incredibly tense relationships that convey extreme emotions in relation to loyalty, betrayal, social consciousness and responsibility as well as issues such as racism and notions of white privilege.

The very traditional perspectives on wealth, power and status are clearly distilled in the portrayals of Polly and Lyman. Their perspectives are sharply contrasted with the moral righteousness of Brooke, Trip and Silda. The concern with material wealth that also underpins the divisions in this family is visible in the lavish and detailed costume and set design. This gives the production a good scale of grandeur inherent in the text. This is a very heavily emotionally loaded text and the performers are able to convey the love and affection that the family members feel for one another. However, the sinister aspects of the play are less drawn out and this tends to mute the drama of the more ominous and grave elements of this disturbing story.

This production effectively captures the complex and highly specific context of the play and provides an opportunity to witness the rich and frequently emotionally tortuous nature of Baitz’s writing style.

Patricia Di Risio 

Photographer: David Belton