Felicity’s Score: 3 martinis /5
Tobias and Agnes are empty nesters…or so they thought. A sister, daughter, and two friends, all seemingly uninvited, are the ingredients for a dish best served with a side of gin…or so their habit goes. Sydney Classic Theatre Company presents a production that honours the intention of the classic Edward Albee play.
Victor Kalka takes on direction and design in this bare bones production, made obvious by the strong marriage between stage and direction upon it. I do wonder what the sparsity of the set added to a naturalistic production, often creating a situation in which it felt like actors were pacing with nowhere to go. It was interesting to avoid an ostentatious representation of what is a well-to-do couple’s home. On the other hand, the bare stage allowed for vulnerability to shine through, with Martin Bell becoming the sole focus on stage visually in his climactic and tormented monologue delivered to Harry (James Bean – of whom we only see the back of in that moment).
Alice Livingstone breathes life into Agnes, with her sharp performance softening Bell’s already subdued one – however this only made Bell’s final breakdown all the more compelling. Suzann James is a delight as Claire, bringing the necessary groundedness for a character given such blithe (although witty) dialogue. Gina Rose Drew particularly shines in costuming with her work on Claire (Suzann James), bringing strong visual opposition to the erudite Agnes (Alice Livingstone). Alison Chambers showcases remarkable comic timing, making superciliousness enjoyable, rather than callous, to watch. James Bean and Zoë Crawford are her match on stage, all working well in the ensemble.
A Delicate Balance is, in essence, an extended philosophical exposition. Many moments leap from a believably formal interaction into a lengthy exposition of existentialism from one character. Aside from the dramatic tension within the action of the plot, this show will appeal to an audience member ready to consider big ideas. Kalka has really achieved a delicate balance in this respect.
Felicity Anderson, Theatre Now
