By David Gardette
Having first worked together in 2012 on MTC’s The Heretic, Director Matt Scholten and Actor Noni Hazlehurst cemented both a personal and professional bond. With a determination to again work together, Scholten positioned the question ’If you could do anything else, what would that thing be?’. The response: a one woman play with Scholten as the director. An admirer and director of the work of Melbourne Playwright Daniel Keene, Scholten approached him to write something especially for Hazelhurst. After a few meetings, 10 days later the wonderfully gritty script ‘Mother’ was in Scholten’s hands.
As one of Australia’s most prolific playwrights, Keene’s work is very much in the realm of social realism underscoring things we don’t want to, or more specifically, choose not to see. In ‘Mother’ we are introduced to Christie a long-time rough sleeper. Christie lives in an unforgiving world, disconnected and vulnerable, struggling with long term alcoholism, mental illness and divorced of relationships. Once married, a mother and in a stable environment, Christie’s world spirals to a dark place, void of stability and kindness. Keene’s writing is extraordinary. It takes you to places unimaginably bleak to moments of laughter and light. And it is this journey that leaves you captivated, albeit heartbroken, for Christie’s story.
‘Mother’ is a wonderfully staged and crafted piece. Scholten’s direction is seamless, delicate and gritty. There is an obvious relationship between Scholten and the work, one that still feels fresh after 3 years of touring and remounts. The collaborative attention to detail the creative team bring to the stage is believable and intricate. Tom Willis’s lighting design is beautifully subtle while Kat Chan’s set could be any Melbourne inner city back alley, with Christie’s collection of stuff her home – milk crates and old mattress her bed, an up turned fridge a place to sit and reflect. The textural design accented by strewn leaves crunching underfoot. Darius Kedros’s atmospheric urban soundscape, bird calls, trains, trams rattling by, give us a real sense of Christie’s place in the world. Chan’s costume design understated but real – layered, worn, soiled, a fabric sling bag, reminiscent of a baby harness perhaps, protectively cradled.
Christie’s world is skilfully brought to life by Noni Hazlehurst’s extraordinary performance. It is a 70-minute masterclass of subtlety and grit. Hazelhurst embodies Christie as she shuffles barefoot through an unforgiving world. Every mumble, fidget, pause – specific in its intention, all the while keeping Keene’s dialogue alive, one moment spat out in anger, the next achingly reflective in loss. The connection between actor and playwright is undeniable.
‘Mother’ is a memorable piece of theatre – compelling, provoking and heartbreakingly poignant. It serves as a recognition to those existing on the fringes of society and a reminder to the fortunate to not turn away, lay judgement. ‘Mother’ is a must see.
‘Mother’ is performed at the Fairfax Studio, Arts Centre Melbourne until the 21st September
https://www.artscentremelbourne.com.au/whats-on/2024/theatre/mother
Image: Brett Boardman
