Burn

It speaks volumes when a community theatre fosters - and even discovers - new writing talent. Even at its most frugal, the budget for mounting a full-length play puts considerable strain on the company. And yet, without these productions, how is new talent ever going to be nurtured? Spotlight knows this and, for the sake of future theatre, gives new talent every chance it needs to grow.

And grow it does. Hall’s very first play EXIT debuted at this same theatre only a year ago, so it’s been a fast turnaround for this young playwright. And the script shows that he has progressed in leaps and bounds.

This taut, psychological thriller lives up to all its promise. The premise of brothers, broken by their father’s brutality, coming together to concoct a scheme to burn down a factory and claim the insurance, is not new, but Hall gives us a new spin, and even a plot twist we didn’t see coming. It’s a play which is more than it seems, so you need to keep your wits about you, and that’s the element that makes it so enjoyable. The playwright maintains the tension and builds the emotional stakes right up to the final curtain.

Clem Halpin’s direction is perfect. Because he has worked so closely with the playwright, he understands every intent and uses it to advantage, and he is aided by an exemplary cast.

As Michael, the illiterate manipulative brother released from prison after serving nine years for murdering his  father, Rory Impellizzeri is simply dazzling. This young actor, with no formal training, creates incredible tension and danger without even speaking. His body language is marvellously raw and intimidating, with the coiled spring of violence barely under the surface. It’s a performance that will be remembered for a very long time, and it’s unlikely to be bettered in the near future. Rory’s portrayal of Michael is 90% visceral instinct, and always credible.

Ricky Moss, as brother Stevie, has a less dynamic role, but is also impressive, particularly as the layers are peeled back and his true self is revealed. It’s a big ask to match the charisma of Impellizerri, but Moss has some great moments of his own.

Lilias Davie is better known to audiences for her comic or musical roles, so it’s a pleasure to see her in a strong and convincing dramatic role as Dr Joan Harding, the prison psychiatrist, with just the right amount of gravitas. Amy Young, always an asset in any musical performance, gives a broad, OTT and witty performance as the prison governor, involved in the double-cross, and manages to steal several scenes with her ribald sexuality, even if she is an unlikely Governor.

And stalwart Peter Maden gives a finely tuned performance as Stevie’s lover and the hapless victim and manages to stage manage and even pull the front tabs as well. What a star!

As always, it’s the little things that make the difference between good and excellent – and most of those are gifts from Halpin himself - the cleverly constructed fluid set (designed by Clem) which allows us to understand the flashbacks and move backwards and forwards in time without the stage going dark, and long pauses following; the subtle but clever changes of shower curtain in the bathroom scenes: the authenticity of the props, and Dr Joan’s change of shoes in every scene which helps to delineate the separation of days. All of this adds up to a great night out for Gold Coast theatregoers, and a worthy start to Spotlight’s drama season.

Coral Drouyn