Seventeen

Matthew Whittet’s coming of age play reminds all of us of the end of our secondary education, when, on the brink of launching ourselves into adulthood, we may have celebrated that watershed moment with false bravado, perhaps too much alcohol and not a little fear and trepidation. Although we’d never voice it to our peers at the time, we deeply mourn the friendships that are about to scatter to the winds and perhaps secretly long to remain as we were, comfortably free of the looming responsibilities and future trials of grownup life. 

On the night of their last-ever day of school 17-year-olds Mike, Sue, Edwina and Tom arrange to meet in the local park to drink, to ‘pash’, and reminisce the night away. They are joined by two ‘hangers on’, introverted and sensitive outsider Ronny and Mike’s 15-year-old sister Lizzie, neither of whom are particularly welcome. As the night unfolds and the alcohol flows, humour and heartbreak ebb and flow amid the teenage angst as hearts are broken, a lifetime partnership blossoms, some devastating secrets and realities are laid bare and friendships are painfully lost.

The fact that older actors play the teens gives everything an added poignancy for the audience, as if we are looking back and reliving a moment we all remember with both fondness and pain.

This is a fine cast, each contributing with individually wonderful performances to an excellent total ensemble.

Jack Robins gives a deeply affecting and totally ‘real’ performance as the outsider, Ronny. A highlight of this is the moment Ronny lays his head on Edwina’s shoulder in sad exhaustion and deep need. His sobs are heartbreaking.

As Edwina, Kate Anolak embodies a studious, intelligent girl who has never been a risk taker and who everyone hopes to bend to their ways, a girl who doesn’t always feel part of the group but has a big heart, waiting for acceptance and love. Her scene when she shares a snack with Ronny is a lesson in timing. Excellent work from this actor and bravo, too, to co-directors Matthew Chapman and Angela Short in this scene and the one described above, for the use of silence and stillness, a strong and effective feature throughout the production. 

As Tom, Lindsay Dunn is also excellent, portraying the group’s stabilising centre and the peacemaker, a hard-working student who even at seventeen is clearly going to be a very fine adult and family man. His face in the final scene says it all; the realisation that nothing will ever again be the same. Dunn shows his singing and guitar-playing talents in the role as well.

Sue is that girl in every group, the one all the boys adore and the girls are envious of. Lindy LeCornu plays her very convincingly, not as the cool girl who in fact has no feelings for others (the stereotype we see in movies), but instead, as one who is, of course, the girlfriend of the coolest boy in school, but is also a kind and loving friend. A very intuitive performance in a difficult role…and that dance!

AJ Bartley does a great job of Mike, the coolest kid in the group, one who also borders on being a bully. Bartley develops Mike’s conflicted inner self very well too, so that we sense this vulnerability early; his ‘cool’ and pushy ways are perhaps an act to hide a very personal secret that when revealed will change a friendship.  

Rebecca Kemp is delightful as Mike’s irritating younger sister Lizzie, who follows him everywhere to niggle and watch him. That there is another reason for this becomes obvious later, as does the maturity within this 15-year-old, beautifully played by Kemp.

The set design is simple and effective, supported by Stephen Dean’s lighting design and Guy Henderson’s sound, while costumes are appropriate.

This play has no interval but the audience sits enthralled for the full 90 minutes, testament to the absorbing and relatable nature of the narrative and to the very natural performances of some fine Adelaide actors.

Lesley Reed