Honour by Joanna Murray-Smith. Sydney Theatre Company directed by Lee Lewis, at The Playhouse, Canberra Theatre Centre, June 9-12, 2010 8pm and matinee June 12, 2pm.
Reviewed June 9, 2010, by Frank McKone
Perfect casting – Wendy Hughes as the wife Honour, Paula Arundell as the lover Claudia, Yael Stone as the daughter Sophie, William Zappa as the husband, lover and father George – would have made this production stand out even if the set design had not so cleverly presented the actors to us.
The acting was quite simply awesome. A mere critic can have almost nothing to say, seeing such clear definition of every emotion. Of course it is Murray-Smith’s writing which provides all the twists and turns of love, from beginning to end, for the actors to work on. It was just wonderful to see every opportunity taken, the complexity of each moment revealed by each performer as an individual and as a totally connected member of the ensemble.
It was without doubt an honour to to be present at such a performance of such a play.
Since the history of productions of Honour took it from its 1995 Melbourne beginnings off around the world, only now coming to us in Canberra via Sydney, it was a revelation to me to see such a mature understanding of marriage, and such a degree of control of dialogue as a theatrical medium when, as Murray-Smith says, “I wrote the play as a new writer” then aged 29. Recently I reviewed her quite recent play, Ninety, presented very well at Sydney’s Ensemble Theatre, but Honour is by far the better play.
Ninety is a deliberately neatly structured piece, also on the theme of a husband about to re-marry, to a young attractive woman, but with a degree of predictability in the to and fro. Will he go or might he return to his previous wife becomes a kind of game for us to watch. But Honour has levels of emotional slipping and sliding so like real life that we feel for each character because they can’t know what will happen, and we have all been in this situation. Can love ever settle into stability? Or must we always live in the expectation of unpredictable change?
With this theme, perhaps the only theme of great drama, it was good to see the action played in a set which offered many interpretations. Two horizontal levels, three wide steps between, enclosed but not bounded by vertical spaced timbers could become George and Honour’s upmarket house, Claudia’s flat, the grounds of a university, or simply an abstract space for the meeting of minds. Without the conventions that a naturalistic set would impose on our imaginations, we were free to identify with the characters as if from within their consciousness.
And so this is a production of a play which should not be missed.
