By Jennifer Beasley.
A brilliantly written play and a dream cast with excellent direction make this an instant Australian classic.
Well, wasn’t I a lucky ducky to get to review this?
Occasionally one gets to see THAT play, the elusive ode to the muse of creativity, that makes one believe in magic. In this case, the magic of storytelling.
The short review is- go see it, it’s phenomenal and destined to be an Australian classic. If I could give it ten stars, I would. But my editor would have words with me, and not just about the brevity of “it’s brilliant, go see it,” as a review.
Therefore, I will give a slightly longer review, explaining why it’s so good, and thus meeting my lovely editor’s approval.
Firstly, I absolutely admire the skilful writing of playwright Angus Cameron. Written in 2019 for The Melbourne Theatre Company, Cameron is a master of the connections of human relations, with the occasional sly nod and wink thrown in to capture the discerning audience.
Even the name, Australian Open, is a reflection on the core dynamic of the play, the open relationship between 25-year-old superstar tennis player Lucus about to play off Federer in The Australian Open (acted by the ever scene stealing and masculine Eddie Orton who owned Touching The Void), and his amour, self-obsessed and anxious Felix (New Gold Mountain). The scene opens on these two lovers, as they celebrate Felix’s 31st birthday, with Felix’s brash and masculine mother, Belinda (a MAGNIFICIENT Jane Montgomery Griffiths who’s been in countless plays and films and I love her!) and the meek and socially repressed Peter (Alec Gilbert, was this role written for you? Amazing and better than in Oedipus) are also attending.
The sister, Annabelle, or Bella, dresses in tennis whites (as are all the cast and well done Harry Gill on the outstanding costumes and blue/white line tennis court staggered set, electrifying and really centres the play), is initially seen in the umpire’s elevated chair, calling out tennis terms; 40 love, deuce, 15:30, while the instrumental music of Madonna’s Vogue gets the general vibe going and lays the sub-text of the play- namely, that the relationships on display will meet in varying games: Singles, Doubles and Mixed.
Melissa Kahraman (Hot Tub, A Fool In Love) nails the slightly snarky and intellectually superior Bella and is the perfect foil as the arrogant sister to the stressed out and weedy Felix, and a very interesting relationship with Lucus, as both seems to spend a lot of time texting and communicating with each other. But such is the depth of this play that there are both obvious and murky layers, much like life really, where nothing is black or white.
Take one of the core themes. Monogamy. Although written through a Gay lens, this discourse is examined also by Felix’s parents, both who seem to be questioning their own relationship.
The humour is sharp and witty, with elements of farce, and I’m sure Cameron is well versed in the writings of Marc Camolotti, Jean-Paul Satre and Moss Hart and he has channelled the best of those writers, yet with an Australian (and Gay) twist.
Director Riley Spadaro (Hot Tub), who has been a previous director of this play in Sydney, has a natural touch in all the scenes. From the swift scene changes to the dance sequences, and even an almost ballet-like interchange as the cast rearranges the round table and chairs, which when placed on their sides are patterned like giant tennis balls, they show invention and a naturalism that fits this play perfectly. As well, Spadaro know how to coach the best out of their cast, who all appear to be having the time of their lives, as they inhabit their roles like a second skin.
Investigating masculinity, father issues (and even mother issues as a tiny sub-theme as Belinda soon has Lucus questioning his life choices, a superpower every mother seems to have), sexuality and posing a thematic question – what is happiness?, this play covers a lot of ground without it feeling “too much” (borrowing from one of the jokes of the play with air quotes here).
Sidney Younger (Ilarun) handles the lighting well, although I’m going to ask, please, do not have strobes lights. Thankfully it was only at the first scene change but it plays havoc with those of us neurodiverse. Otherwise, all lighting was perfect and fits into the sound design by the incredible Jack Burmeister, who in my eyes is the best in the business and was nominated for a Green Room Award (should have won).
This is an intelligent play, and the acting and writing reflect the interchanges that make up relationships with both kindness and humour, without veering into the absurd (well, let’s allow the scene where Peter goes to a Gay Club, ok? Gut wrenchingly funny and works for this play).
Very highly recommended, and I’m sure my editor will be happy.
Let’s play some tennis!!
Australian Open playing at 7:00 pm (2pm Sat 31) at Theatre Works until 31 January, 2026.
Image: Sarah Clarke
