Verdict: ⭐️⭐️⭐️⭐️.5 (reviewed Saturday 16 November)
Grand Horizons presented by Castle Hill Players at The Pavilion Theatre is touted by director Jason Darlington as “a light-hearted” examination of ageing, parenthood and family relations. We gently disagree. This brutally honest, wickedly funny play by Bess Wohl is anything but light-hearted; the fact that the context and characters are all American rules out any subtlety when it comes to the shredding insults hurled across the stage. And insults there are many, with liberal use of F-Bombs and descriptions of oral sex that will burn the ears of even the most open-minded listener. The level of risk is astonishing, and highly commendable from a theatre company that never shies away from uncomfortable adult subject matter (The Vibrator Play still stands out as a memorable viewing).
Grand Horizons is about an elderly couple that agree to a sudden divorce after 50-years of marriage. The adult children are horrified, and attempt to intervene, bringing their own emotional baggage into the mix. Out comes everyone’s dirty laundry and traumatic childhoods, exposed to the world to dissect and analyse. The dramatic tension is palpable as the audience can be heard shifting around in their seats, gasping at the audacity of Wohl’s characters (notably “I sincerely hope you both die!!!” uttered by the eldest son to his parents).
Admittedly, Act 1 is quite awkward to sit through, as revelation after revelation comes bubbling to the surface. The acting leans into being a bit guarded and safe, which is not a major criticism given it is Darlington’s first directorial role, but it does feel some of the actors are delivering their lines in one-style expulsive fashion. However, the blocking and staging is spot on. A moment where Nancy, the protagonist wife and mother makes a sandwich in excruciating silence while her family are facing away from her in boiling anger and contempt, is an absolute scene-stealer. The action that follows is a complete and utter shock. (No spoilers – you have to see it).
In Act 2 when we finally get a glimpse of Carla (Jennifer Leslie), dad’s colourful and surprisingly age-appropriate mistress, the actors warm up and seem a lot more relaxed in their performances. Where previously family relations were acrimonious and strained, Jennifer Leslie as Carla brings a salt-of-the-earth, calming influence.
Kate Mannix as Nancy gifts us with a role of an older woman who is yearning to be visible and independent. Nancy knows she is not the ‘perfect wife and mother’, but is finding her grounding to speak her mind when her adult children try to pin her with all kinds of blame and guilt. Mannix bravely creates an arc for her character that is sympathetic and whole.
Stephen Snars as Nancy’s husband, Bill, dives into the reticent and often baffling male psyche with good fun. Bill knows Nancy is being unfaithful, and yet as the dependable husband, he loves ‘seeing her light up like a Christmas tree’. Thankfully, the play doesn’t berate or stereotype Bill for his inability to show tenderness and appreciation, rather, it presents these character flaws more as traits of human nature in a way that is palatable to the audience.
Ben Wheeler as Ben, the embittered elder son, is a force on stage, with some really shocking lines hurled at the people he loves. His arc is probably the hardest to create because he is established as the character most driven by career success, but Wheeler is convincing of someone who is reaching for a compromise in a messy situation.
Jess, Ben’s pregnant therapist wife, is played by Kimberlea Smith with warmth and a sprinkle of woke-wisdom that masks some of the more contradictory sides of her character. (“Don’t call be BABE!!” is an interesting scene). In every role Smith always illuminates her characters with glowing stage presence.
Brian, Ben’s emotionally needy younger brother, is played by Brett Joachim with energy and livid expression of his hurt inner child. Brian is a queer drama teacher with abandonment and trust issues, and Joachim dives right into the character with bravery and enthusiasm.
Hamish Davie plays Tommy, Brian’s hook up, and convincingly takes us through a scene of their intimacy together.
A nod also to Rod Bishop who plays the voice of the disgruntled neighbour off stage.
The staging of the interior of a private senior’s home is immaculately crafted, alluding to wealth and status, but, like the characters it houses, is also beguilingly perfect and emotionally sterile. The lighting indicates the passage of time, creating a voyeuristic ambience for this compelling family drama.
Grand Horizons plays at The Pavilion Theatre till 7 December. For tickets and showtimes, go to https://paviliontheatre.org.au/grandhorizons/
Image Credit: Chris Lundie