Review: Gethsemane

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Above: Hugh Keays-Byrne as Otto Fallon, Andy Rodoreda as Mike Drysdale.

Above right: Dan Wyllie as Geoff Benzine, Paula Arundell as Monique Toussaint, Claire Jones as Lori Drysdale

Above: Emily Barclay as Suzette Guest, Claire Jones as Lori Drysdale.

Below: Rhys Muldoon as Alec Beasley, Sarah Peirse as Meredith Guest.

All images: © Heidren Lohr.

POSTED: xx SEPTEMBER 2009

Gethsemane, by David Hare

(Company B | Belvoir Street Theatre, Surry Hills, Sydney | Until 18 October)

Of all the productions staged by Company B this year, Gesthemane was the one I have most been looking forward to — the combination of David Hare’s writing, Neil Armfield’s direction, and a cast of formidable talent and experience had this pegged as a season standout.

So what happened?

Somehow, the whole of Gesthemane is less than the sum of its parts. On paper, Hare’s concept is sound and relevant. Rigid expectations, along with often impossibly high standards of behaviour and motive placed on public figures, make it as timely in the current Australian — and New South Wales, John Della Bosca — political landscape as it is in Hare’s Britain.

Hare posits that as a society we start from a position of cynicism and mistrust of politicians, social workers, doctors — in fact, anyone in a role as a servant of the people. Good intentions are rarely attributed to these collective groups. At the same time, we strongly defend those in our inner circles — even beyond reason or evidence.

Gesthemane tells the story of intersecting groups, revolving around a New Labour government, led by charismatic Alec Beasley (Rhys Muldoon). Otto Fallon (Hugh Keays-Byrne), a brash and opportunistic ex-boy-band producer, is now a fund-raiser and troubleshooter for the government.

Home Secretary Meredith Guest (Sarah Peirse) has moved her teenage daughter Suzette (Emily Barclay) from a public school to an exclusive private school, much to Suzette’s disgust.

After a scandal involving drugs and other naughty teenage doings, Suzette is saved from expulsion by the conveniently positioned Otto — a newly appointed governor on the school board. The promise of funds for the school sweetens the deal. Disaster averted — if only Suzette hadn’t spilled the beans to a journalist while she was having sex with him!

As various figures scramble into damage control, issues such as the use and misuse of authority, the power of money, trust, and political idealism are explored — at times in fierce, funny and devastating fashion.

Unfortunately, the length of the production and the reliance on naturalistic conversation slows the impact. Often it felt like extraneous ‘fillers’ blunted the sharpness of the dialogue.

Juxtaposed with fourth-wall-breaking monologues, the flow of the production was jumpy. While often witty and perceptive — especially Otto’s assistant, Frank, played in beautifully prissy style by Charlie Pegg — at other times they felt moralistic and superfluous.

The cast themselves are strong, confident and work hard to maintain energy. The often brightly lit, sparse staging tended to dwarf even the larger-than-life characters.

Gesthemane is a Biblical reference to Jesus Christ’s night of doubt prior to his crucifixion — known as the Agony in the Garden. From this night Jesus emerged prepared for the sacrifice ahead. Company B’s Gesthemane is certainly not agony — but I did have my doubts.

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