By Jennifer Beasley.
Female revenge empowerment becomes entwined with predatory tennis metaphors and Hamlet’s corruption through justice as Game. Set. Match delves into monster hunting territory as it asks: Can someone reclaim agency through violence?
Trigger Warning: This production contains explicit descriptions of sexual assault, graphic violence, discussion of racism and racial slurs, strong coarse language and simulated use of drugs.
Megan Wilding (The Rover) has written, and acted, in an intriguing 95 minute two-hander debut performed at the Malthouse Theatre.
Hailing from the Gamilaroi mob, Wilding’s debut play is an interesting mix of rom-com, drama and tragedy.
It starts out mildly enough.
At a wake, Ray (Wilding) is cleaning after the service of departed tennis great Betty Huges. Enter Joshua (Rick Davies from Offspring) who has missed it all. Which is important because…well, I’ll let you find that out. A rom-com type element occurs between two very different characters, things seem to be going swingingly, tennis references and all, before a savage tonal shift descents into violence and the darkest of material.
Wilding is certainly a good playwright. Parts of this reminded me of Joanna Murray-Smith’s Berlin, a romantic comedy thriller, and is perhaps a good role model to aspire towards.
All the thematic elements are clearly stated right at the beginning of the wonderful moveable set by Isla Shaw, absolutely stunning, and sharp direction by Jessica Arthur whose assistance in Black Light really made such a large stage become intimate. Here, Arthur maintains dynamic movement and gentle motions to underscore the emotional tension and keep the energy flowing. The visual power play of Dom/Sub by the two actors brims with barely contained sexuality as they acted out their mutually exclusive goals. A really lovely piece of writing and acting here.
An interesting choice to weaponise the audience’s assumptions with the rom-com sections. Turning what appears to be flirtatious comments and aggressively veiled banter lulls the viewers into a sense that they know where this play is heading. Even with the mention of (Chekhov’s) gun. Thus, the facially mobile Ray captures conflicted Joshua, who then returns the volley.
The game has begun.
In the toilet scene the tone starts to darken as drugs are shared and scars explored. Lighting dims with a garish backlight from signage, so well done by Green Room winner Amelia Lever-Davidson (Triumph) one of the most gifted light technicians around.
The tennis metaphors uncurl. Two people. They circle. Lob. Parry.
Predators both.
Yet there can only be one winner.
Threaded throughout are references to Hamlet. Now, if that doesn’t warn you that this NOT a rom-com, then, surely, the discussion on the Menendez brothers will spark your interest.
This is a revenge tragedy. And it is pretending to be a rom-com. How very interesting.
The structural difficulty doesn’t come from the excellent prepping that Wilding has done, and the brilliant acting by Davies in an award-worthy role. The tonal transition is too hard, dividing the audience between the monstrosity of both characters, and the moral questions raised. Is violence against predators’ justice? Does revenge restore power or corrupt the victim?
Weaving indigenous concerns related to colonialism, and the larger violation of Country to White Men, there is a deep sense of grief in this play of innocence lost and suffering, which also touches on how environments can contribute to predatory behaviour.
Game. Set. Match asks if predators deserve mercy.
Yet the seeds are planted, buried deep in the violated ground, and the touch of violence shapes the ultimate monster at the end.
My companion and I enjoyed this immensely. Just girdle yourself for an uncomfortable ending.
Game. Set. Match. is playing at The Malthouse Theatre until 23rd May 2026.
Image: Gianna Rizzo
