Review: Saturn's Return

For a dyed-in-the-wool baby boomer, watching Saturn’s Return was not always a comfortable experience. Fascinating ... yes ... entertaining and often funny ... yes ... stimulating ... yes ... provocative ... most definitely ... but comfortable ... well, not always.

And before I attract support from the wowsers, the discomfort certainly did not come from the occasional — and quite fierce — barrage of f-words.

It came, rather, from the generational challenges cast tantalizingly by Tommy Murphy, a young Australian playwright regarded as a leading spokesman for Gens X & Y, the increasingly strident and successful joeys of the boomers.

The play’s title comes from an astrological term referring to the 30-or-so-year orbital cycle of the planet Saturn — named after the Roman god of agriculture and harvest, who was also seen as the universal time lord.

Saturn’s return to the position it occupied at a person’s birth is said to have a profound effect on them, challenging their ideas about life and provoking change — a sort of supercharged seven-year itch.

And that’s exactly where Zara (played by Leeanna Walsman) finds herself as she approaches her 30th birthday and suddenly can’t tell her long-time partner Matt (Toby Moore) that she loves him.

It might just be one little word she can no longer utter, but the realisation sends Zara into a spin that has her tripping through space and time ... and seriously questioning her past, her present and, above all, her future.

It’s a journey absolutely electric with sexuality ... but it’s also heavily involved with commitment, with settling down and having children, with discovering the meaning of life.

Saturn’s Return is an excellent piece of theatre and it’s certainly part of the success story of Cate Blanchett and Andrew Upton at the helm of Sydney Theatre Company.

One of their first acts upon being appointed joint Artistic Directors early last year was to commission Tommy Murphy to write this play as part of the company’s Wharf2 Loud program (now known as Next Stage) and, as a work-in-progress, it played to enthusiastic response in the smaller Wharf 2 Theatre.

I didn’t see that performance but I would love to have witnessed the precursor of what is now a full-blown Main Stage production complete with all the trimmings that Wharf 1 can provide for this powerful three-hander.

Leeanna Walsman played Zara in the original production and reprises the role here with great conviction — the ultimate successful Gen Y female, bristling with confidence but consistently allowing weakness to peak through the brash armour of outward youthful strength.

She also doubles wonderfully as an Amsterdam prostitute trying to seduce a guilt-ridden Matt trying in turn to come to terms with the death — is it real or imagined? — of his father.

Toby Moore is excellent as Matt — not subservient to Zara but certainly acquiescing and carrying his own doubt-ridden baggage.

Matt Zeremes played Matt in the original production and returns in the supporting role of Brendan, Zara’s high-school colleague who she chases up for some possible sexual excitement.

For David Berthold, one of Australia’s most experienced theatrical directors, it’s also the second time around with Saturn’s Return and it’s a play he’s obviously very comfortable with.

Huge accolades, too, for designer Adam Gardnir, whose revolving stage works a treat, changing effortlessly, effectively and sometimes poignantly from one set to another.

And I think I’ve resolved the discomfort, as well. After all, weren’t the challenges being thrown out here — different attitudes towards sexuality, commitment, growing up and settling down, the world in general — much the same as the ones I threw to my parents? Wasn’t it only the small print that had changed?

And then a more disturbing thought. What happens as you approach 60 and Saturn returns for the second time?

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