Tim Winton’s ‘Shrine’: Review
Tim Winton’s latest work is a poignant, dark, sometimes funny account of one families struggle to find meaning in the untimely death of a loved one.
Presented by WA’s Black Swan State Theatre Company, Shrine stars John Howard, Whitney Richards and Sarah McNeill.
It should be noted that Shrine is not an adaptation of another of Winton’s work. Winton himself has said that his previously adapted works, whether for the stage or television have never fully been realized. Shrine however has been written purposefully for the stage and it shows.
Beautifully written and conceived, Shrine is a cleverly woven narrative that uses flashbacks and evocative imagery to tell its story so effectively that at times it feels as though you’re walking through a memory.
Performances are solid. John Howard delivers as the despondent father but I would have liked to see him stretch just that little bit further – his character being in the very real position to rip the heart right out of the audience.
Whitney Richards grew in confidence throughout the night as the rambunctious June Lenton. The banter between her and Howard a highlight and as they fell into a comfortable rhythm there were some genuine moments that were a thrill to observe.
The banter between Howard and Richards is a highlight.
The young supports are sound. Paul Ashcroft is sympathetic as Howard’s son. Luke McMahon is at both times despicable and pitiable as his ‘friend’, Will and Will McNeill plays an interestingly shaded character. His look and mannerisms alone reminding me of a very young Heath Ledger, for whom the theatre is named, but perhaps this was just hopeful thinking.
Sarah McNeill was a stand out for me but unfortunately not in a good way. A mother’s grief is never palatable and as such I always wanted to shy away from her wallowing Mary Mansfield. Granted, it is a tough role to take on but she pitches it so strongly that it plays like a Shakespearian matriarch. In the quieter moments, however, in the rare moments of clarity is where her character shines. There is an absolutely gut-wrenching scene as the funeral is relived where I challenge you not to feel something. It was one of the play’s finer, cathartic moments.
It is Winton’s ability to give us real, tangible, flawed beings. Ashcroft’s Jack is not the victim. His friends are not villains. It is Winton’s genius that leads us down one path, takes us down another until we realize we’re not on the path at all. The way he takes the ordinary and makes it extraordinary. The way he gives us beauty in literally the darkest of moments.
We left the theatre with no great revelation. No nice little bow to tie it all together. Much as it is in life. Just the faintest of promises of that which once which was, may be again. Or never was.
I give the night 8 washed up double pluggers.
Shrine is currently running at the Heath Ledger Theatre until the 15th of September. Tickets available at Ticketek
Beautifully written and conceived, Shrine is a cleverly woven narrative that uses flashbacks and evocative imagery to tell its story so effectively that at times it feels as though you’re walking through a memory.
