Christine Rule and Brenton Amies have been perfectly cast as Mother and Son Maggie and Arthur Beare. Without mimicking or parodying the iconic Australian television performances of these characters, they have brought them to life believably and endearingly under the direction of Jasper Kyle at Hunters Hill Theatre.
Rule’s ability to wordlessly convey her thoughts in the opening scene with humour and authenticity introduces us instantly to an older lady trying to maintain her independence in the face of her age-related limitations. Amies balances frustration, patience, resignation and concern as the man left to look after her while trying to retain his own life.
All the dimensions of aging with dementia are shown in Rule’s performance. She blends and shifts between confusion, helplessness, defiance, playfulness, joy and innocent forgetfulness naturally and shows the regression that can happen when the mind occasionally hops back to an earlier time. Although you laugh and perhaps roll your eyes at her sometimes, Rule makes Maggie lovable.
Amies’ facial expressions throughout his performance give depth of meaning to each moment, and he simply ‘looks the part’ of the longsuffering carer. His energy switches effortlessly between interactions with his on-stage mother, brother, sister-in-law and girlfriend, making each of the respective relationships unique and showing us exactly how the family fits together. Just as Arthur is something of the glue to the Beare family, Amies connects the cast together with a quiet magnetism for the audience.
Nicholas Richard as brother Robert is as cocky and self-centred as one may expect from a successful favourite son, scheming to keep both his wife and mistress and mostly oblivious to Arthur’s situation with their Mum. Richard comes across as the guy you ‘love to hate’, but treads the line between fiendish and flawed so expertly that you don’t really want him to get his full come-uppance.
Hope for Arthur and a distraction from Maggie’s needs comes in the form of his “new friend”, Anita, played by Tida Dhanommitrapap. Bubbly, caring and perhaps a little eccentric in cute, bright outfits, she’s a breath of fresh air for Arthur. Moreover, it’s refreshing to see a romantic relationship in fiction of any form that is more than skin-deep. Dhanommitrapap embodies the understanding, the necessary go-with-the-flow, and the partnership in looking after Maggie that Arthur needs and deserves, so that the audience, like Arthur, look forward to her next appearance.
Harsha D’Souza plays Robert’s wife Liz with such groundedness and confidence it’s surprising to read this is her first time acting! D’Souza’s performance is poised, driven, distant but not heartless. She is costumed (like Richard) with the help of Renee Simon to show the economic advantage Rob and Liz have over Arthur.
Richard and D’Souza act both on stage and on screen as we see them with their children via videocall with Maggie several times during the show. Bronte (Niamh Farrell) and Jarrod (Wes Egan) are only seen via the screen at the side of the stage, but their spoilt teen energy and boredom with the chore that talking to Grandma is, are not lost over videocall. On opening night Farrell and Egan took a well-deserved bow with the rest of the cast.
Ross Alexander is genuine as the aged care assessor, Steve. Although he plays relatively straight in his short scene, his warm character sets Maggie and Arthur up for some audience laughs.
When we meet Maggie’s instant friend Monica, Joan Rodd is commanding and convincing (and reminds the writer of her own dear Gran). She is a delight as the ‘proper lady’ whose connection with Maggie shows us that the nursing home will be a positive experience for Maggie, if a temporary stay there can be managed, and if she can be convinced.
The set, designed by Wayne Chee and managed by Rodd is realistically furnished with touches of Australiana and the majority of the action is in the Beares’ living room. See if you can spot the ‘nod’ to one of the actors’ past roles in the set.
Kyle and his assistant directors Nat Thomas and Renee Simon have done a wonderful job creating an engrossing and touching production. It’s well worth the visit to the top of Club Ryde where you will be kindly directed by the front desk staff and warmly welcomed by Hunters Hill Theatre’s front of house.
If you have a ‘golden child’ sibling, a dotty parent or just want some warm Australian humour for an evening, see Mother and Son.
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