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Terry Serio as Caesar in Concussion ... the central character in a play of honest, often brutal and edgy performances.

Photo credit: Grant Sparkes-Carroll.

POSTED: 28 MARCH 2009

Concussion, by Ross Mueller

(Griffin Theatre Company & Sydney Theatre Company Next Stage | Wharf 2, Walsh Bay, Sydney | Until 4 April)

Terry Serio’s expression on the poster and program for Ross Mueller’s Concussion is bleak and moving — the sense of loss and bewilderment on the face of his character, Caesar, is palpable.

Given this glance, and knowing the calibre of the creative team involved, my expectations of Concussion were high. They were largely met.

Caesar, a police officer, wakes with no recall of his life beyond one fateful night. A beautiful doctor, Julia (Rachel Gordon), tends to him — a doctor who also appears to be his lover. Domino-like, relationships begin to emerge and collide: Caesar’s son Sergio (Sam North), who is intimate with Katerina (Belinda McClory), who in turn is supporting Caesar through an investigation; James Junior (Luke Ryan), Katerina’s former lover; James Junior Junior (Chris Ryan), his brother and former partner of Julia…

No wonder Caesar is confused!

While Caesar is central to the story, all characters are given equal focus as their stories unravel. Chronology is abandoned as Caesar and the audience strive to discover what really happened.

Is Caesar a good guy? What really happened that night? Who can be trusted?

Added to the drama are pertinent references to the potential perils of technology — SMS, internet porn, social-networking websites, and blogs. Too much information (especially if filtered through the horny brain of a teenage boy), and reputations can be made or ruined in a cybersecond.

Mueller’s humour is black, coarse and often shockingly hilarious. Principles battle with self-preservation; gratification with loyalty; honour with desire.

The use of interruption points to overlap the dialogue usually served to bring realism and immediacy to the action — on occasion it seemed unnatural or out of synch. If the purpose of this was to reinforce the disordered thinking and disorientation of the concussed mind, then it worked well.

Breaking the ‘fourth wall’ is a risky proposition, providing one player with prescience over the others. In this instance it felt self-conscious, but fortunately this device was not used often enough to detract from the story.

The performances are honest, often brutal, and edgy. Director Brett Adam has shaped an ensemble of sharp, passionate actors who interact with fearlessness and intensity.

Unfortunately, some gratuitous moments for both female actors (Julia’s monologue about self-fellatio, Katerina’s lingerie-clad gyrations) do little to enhance development of either character or plot.

The set is stark, metallic, bluntly illuminated in fluorescent light. Scenes are punctuated by bursts of raucous music and strobe effects that cleverly convey a sense of synapses firing — or misfiring. The actors dance, thrash and writhe. It’s confronting and electrifying.

Medically speaking, concussion usually clears quickly without long-term effects. In this case, a feeling of having experienced something powerful lingers … but does fade with time.