Skip to main content

Fury by Johanna Murray-Smith - Red Stitch

Danielle Carter & Sean Rees-Wemyss in Fury
Photo: Teresa Noble Photography


In American Song, staged by Red Stitch in 2017, Johanna Murray-Smith explored gun violence in America and a father trying to come to terms with the actions of his son. It was a clear, probing insight into tragedy, guilt and the aftermath of both.

Murray-Smith’s Fury covers similar territory in a milieu the writer is more familiar with – the middle-class Australian suburban home. And it feels like the script is treading water.

Patrick and Alice’s son, Joe, has been caught defacing a mosque. What have they done to let Joe think this is acceptable? Or, more tellingly, what have they done to deserve this?

Their first instinct, which seems natural, is to blame Ethan, the other boy that was with Joe on the night of the incident. Ethan is from a working class family and is only at private school on a scholarship. Ethan’s parents, Annie and Warren, are rough around the edges; well, to be clear, they’re racists and it’s easy to see where their kid might have picked up some bad behaviour.

Joe, though, does himself no favours, ranting like a right-wing shock jock about Muslims and jihad. And soon it becomes clear that if Ethan is not to blame; maybe Patrick and Alice should turn the spotlight on themselves.

Fury takes on a lot of interesting ideas without really exploring them in much depth. What is the role of in the internet in all of this? How does the media feed into this paranoia? What more could the parents have done in this situation?

Much of the drama revolves around Patrick and Alice’s white liberal guilt, bringing up long-simmering tensions about their marriage and who sacrificed the most for each other’s careers. To take a dramatic situation like a hate crime and turn it into a kitchen sink melodrama is what Murray-Smith is known for.

Directors Brett Cousins and Ella Caldwell seem more interested in giving their actors free reign rather than interrogating the text. The play itself seems dated; arguments like this feel like they might have been cutting edge a decade or more ago. This is not to say the play is not relevant, but is it damning white liberal guilt or is it praising it?

Designer Chloe Greaves gives us an awkward revolving curtain around naturalistic set pieces; each scene change is a mix of blackout and the curtain dragged by a stagehand.

Sean Rees-Wemyss as Joe is wonderful as a privileged teenage boy, a character who unfortunately only has two dimensions. His relationship with his teacher (played by Dushan Philips) is spiky and their dynamic is the richest on stage; you never know quite where things will end up in their scenes.

Danielle Carter’s Alice has an early scene in the show where she describes a woman’s righteous fury in a patriarchal world and we get little further insight into this idea. Carter’s performance is mostly played at various levels of shouting, which Joe Petruzzi’s Patrick tries to be the calm rational one.

There’s another moment near the start of Fury where Alice physically lashes out at Joe. It upends the repetitious staccato dialogue of the show to that point and suggested things might spiral away from the strictly cerebral text it had been. But no such luck.

Comments

Popular posts from this blog

My Favourite Theatre of 2018

It’s that time of year again, when I look back over everything I saw on stage and put together a list of my favourite shows. I saw over 100 shows this year, mostly in Melbourne and a small number on one visit to Sydney.

I will link to reviews if I wrote one.
TOP TEN (alphabetical order)
The Almighty Sometimes – Griffin Theatre, Sydney
Kendall Feaver’s extraordinary debut play is about Anna, dealing with mood disorders and medication and the complicated relationship she has with the treatments and her mother. Superb cast and beautifully directed by Lee Lewis
Blackie Blackie Brown – Malthouse Theatre
Nakkiah Lui’s work is always amazing but this production, directed by Declan Green, was another step up for her – the satire sharper and bleaker and more hilarious than ever before.
Blasted – Malthouse Theatre
Sarah Kane’s debut play from 1990s London is a tricky beast tackling difficult subjects but Anne-Louise Sarks nailed it with a superb production.
The Bleeding Tree – Arts Centre Melbourne

A Thing Isn’t Beautiful Because It Lasts: Avengers in the AGE OF ULTRON

The latest film in the Marvel Universe series feels like nothing so much as a season finale. And since Joss Whedon was once the master of creating season finales that were both emotionally satisfying and thematically resonant, it’s good to have him in charge for the second Avengers movie, Age of Ultron.
I’d like to compare it to the epic scope of Buffy’s “The Gift” but it feels more like Angel, if anything. Things change, the world moves on – and the best you can do is keep fighting. And embrace change.
Tony Stark has always been flawed, but by the third film in his own trilogy, he seemed to have found an emotional peace. But with that peace comes the idea that he can use his technology – his faith in machines being his tragic flaw – to create a replacement for the Avengers. He births an army of robots to calm the populace and fight alien foes.
Robert Downey Jnr’s Stark is such a towering figure in the Marvel Universe films – and to make him partly the villain of this new film is a s…

You are far away: Agent Cooper and his troubling return to Twin Peaks

“What year is this?” Dale Cooper asks in the final scene of Twin Peaks: The Return, the last of many unanswered questions left as the 18-part feature film concluded a week ago.
It’s far from the first time we’ve seen someone who looks like Dale Cooper lost for answers over recent months. But it might be the first time we have definitive proof that he’s in over his head.
Mr C, Dale Cooper’s doppelganger, who was first seen in the original series’ finale back in 1991, returned to the town of Twin Peaks with a goal in mind. Mr C was flexible, though. He had to be; he’d set so many things in motion over twenty-five years, if he’d remained fixated, he would never have come as far as he did.
Dougie, Dale Cooper’s tulpa – created by and from Mr C, wandered aimlessly through life, but slowly made every life he touched better. Plans change and Dougie changed with them. Slowly but surely, Dougie pieced together Cooper’s past life and became richer for it.
Agent Cooper, the third part of this T…