Housework
In the world of politics, there is intrigue, manipulation and at times great sacrifice. This cleverly satirical piece, Housework, by South Australian playwright Emily Steel, unmasks the real Parliament. The solid, towering marble halls and oversized imposing furniture on stage symbolise the ‘trustworthiness and steadfastness’ which we imagine our government to have. Surely it should be reliable, strong, decisive and empowered?
In this bitingly clever piece, we find out from much research done by Steel, that all is not held together with the gravitas we hope it is.
In a country frequently disillusioned by our politicians, and where their actions are very accessible due to television and social media, we like to still believe that our reigning governments act in our best interests and are dependable.
The fracturing of this façade is wrapped up beautifully at the end of the play. A young staffer asks the cleaner in the chamber “What happens at the next election?” and the cleaner replies, pointing to the large dividing table. “Well, this side moves to that side and that side moves to the other” (I am paraphrasing). We are left a little saddened realising that no ‘side’ is better than the other, that politics is a game where everything is fluid and the tables certainly do turn metaphorically and physically.
Housework is a very enjoyable, and at times very funny, look at power and the imbalance in politics, particularly for women. Whilst the good fight is being held in a passion project by new Member of Parliament Ruth Mandour (played brilliantly by Susie Yousseff), we are frustrated by her lack of sisterhood with her colleagues. She zigs and zags to navigate her way through, as does her witty but somewhat jaded Chief of Staff played with deft sharpness by Emily Taheny. The idealism of ‘two months in’ newcomer to all of the shenanigans, Kelly Sheppard, is in stark contrast to the resigned, game-playing of the other staff members. A wonderful response by Anna to Kelly’s question “How’d you get so wise?” – “I watched my dreams die. And then I kept going.” sums this up beautifully.
There is some wonderful talent on this stage, guided deftly by Shannon Rush This is a tightly directed ensemble with staccato beats and music between scenes, keeping the sharpness of the dialogue flowing. This dialogue is rapid-fire and paced to perfection. There are also some humdinger one-liners and wonderful ‘knowing’ facial expressions that caused the audience to guffaw on opening night.
The aforementioned set is cleverly designed by Ailsa Paterson. Its magnitude in creating the tower of strength implicit in Parliament is, in its simplicity, excellent. Lighting by Nigel Leving created mood and focus well.
The main players themselves cover not only their main roles but some very funny moments as snide backstabbing opposition members trying to look for dirt in every situation to trip up the members.
Emily Taheny as Anna Cooper is a tour de force. With an amazing resume of theatre and TV, she lights up the stage and has us in awe of her stamina. She absolutely nails the unwavering support chiefs of staff give to the members of parliament, even down to fulfilling sandwich orders! We empathise with her frustrations, marvel at her manipulations and feel for her final decisions.
Susie Youssef as Ruth brings experienced comedic timing and physicality to the role and whilst at times very frustrating - “Do I wear lipstick to meet a feminist?”- she is extremely clever and portrays the flip-flopping parliamentarian who bends to suit the situation with skill.
A standout was Franca Lafosse, playing naïve dreamer Kelly Sheppard . A junior staffer who unknowingly lands herself in major trouble from a poor, but well-meaning decision, she is a gem to watch. Her body language and facial expressions alone tell the tale and she works beautifully as a symbol of the idealism and inspiration we hope our government holds, amid the Machiavellian mischief.
Renato Musolino is brilliantly sleezy and opportunistic as the Minister Paul. Reminiscent of a Hugh Grant- style politician, he accurately portrays the rogue with style and believability. We both love him and despise him.
Benn Welford plays multiple roles, but his best is his character Ben, who epitomises the chess-like strategies being played in the marble halls where jockeying for position and using people seems to be the name of the game. He plays the clever deviousness with aplomb.
Sunitra Martinelli is not to forgotten as she plays the key role of the Prime Minister with strategizing calmness and the cleaner at Parliament. Both are clever and show a breadth of skill from this actor.
Housework is a very watchable piece of theatre. It was very frustrating at times as a woman watching this, but that is the point - things are not clear or balanced or fair. The spotlight Emily Steel has shone on the chaotic, behind the scenes of Parliament are an eye opener and whilst all characters are fictional, there are many moments where there can be real life links made immediately. A very enjoyable night at the theatre - but be prepared to have to pay attention as the dialogue is fast and sharp! Go see it!
Shelley Hampton
Photographer: Matt Byrne
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