“Severe familial dysfunction ,,, this ambitious and nuanced play is set in Midwest America with characters who are problematic and largely unlikeable.”
Alethea Mouhtouris
3 Stars
Venue: New Theatre
Sydney
Dates: Until 24th January
Staring into the American mind.
Severe familial dysfunction lies at the heart of A Lie of the Mind, written by prolific American playwright and Pulitzer Prize winner, Sam Shepard. Brought to the stage by Light The Torch Productions, this ambitious and nuanced play is set in Midwest America with characters who are problematic and largely unlikeable.
The plot focuses on two families divided by a shocking attack by Jake Murphy (played by Finn Couzner) on his wife Beth (Lily MacNevin).
It leaves her brain-damaged and trapped in her family home, with a subservient mother (Abaigh Curry) and raging father (Lisandro Garcia) teetering on the verge of domestic violence. Beth’s sister Michelle (Libby McAneney) appears to be her main supporter but keeps very tight control of her, causing tension between them. McAneney is excellent in this role, simmering with rage and occasionally exploding.
Following the incident, Jake spirals into an almost catatonic state. Alarmed, his brother Frankie (Amos Walker) tracks Beth down to explain her husband misses her, only to find a damaged woman who, reflective of the injury, shifts her attentions to him. He becomes trapped with a voracious Beth and her family during a blizzard. Frankie is the only character who has an element of selflessness, and he pays for it. Walker is a great Frankie.
Back home, it turns out that Jake is suppressing memories of an earlier horrific incident with his father, a secret known only by his timid sister, Sally (Felicity Cribb). When she shares it with her mother Lorraine (an impressive Indiana Jamie), everything unravels; the destructive nature of family is well-presented here.
Jamie plays Lorraine with a scorching ferocity. As a character, she is unhinged – both unhealthily obsessed with her son Jake, and quick to turn in scornful fury when he does not meet her needs. She is vile to her daughter Sally, sneering at her when she shares heartbreaking information about Jake’s involvement in her father’s death.
The role of Beth is not an easy one to play but MacNevin portrays her challenges and struggles to express herself with care and nuance. We can glimpse the former Beth, who we never met, fluttering beneath the surface of this damaged young woman; a testament to the actor.
The performers should be commended for committing to such a complex play. Director Johann Walraven describes this play as capturing “the fractured American identity – something that still resonates in a world grappling with political, cultural, and emotional instability”. He adds: “His characters feel lost, dislocated, and disconnected, reflecting the alienation a lot of people feel today”.
This is exactly what keeps A Lie of the Mind relevant four decades years after it was first staged in the US, and I found myself musing whether it would have the same impact if set in Australia. There’s a unique vibe about the American Midwest – something not quite right
simmering under the surface – and Shepard has captured it well.
Walraven has done a good job in directing this complex play. Kudos to the production team. The stage design and lighting were strong, and dialects were impressive – the Midwest accent isn’t easy.
The show isn’t all grim. There are moments of levity, and also occasional audience-wide gasps at derogatory comments. This production includes country songs at key points which helped both set the scene and disguise set changes. The performers have beautiful voices
and excellent guitar skills – a joy to listen to.
Photography: Josh Merten (Instagram: @joshie_merten)
Alethea Mouhtouris, Theatre Now
