When Dad Married Fury

When Dad Married Fury finds David Williamson in familiar territory, back with the canapés and chardonnay set of Sydney. It’s a birthday celebration for multi-millionare Alan Urquhart who’s just returned from America with a young bride half his age. With no pre-nup in place, his sons and their spouses can see the money slipping away and are determined to redress the situation. Greed drives the plot which touches on the recent global financial crisis, Ponzi schemes, and mum-and-dad investors who were sent to the wall.

Williamson has created a great character in Alan, a contemptible liar, a bully, and a man who won’t let his morals stand in the way of making a dollar. And with a new young wife on board shades of Rupert Murdoch or Lang Hancock and countless other May-December romances. It was a perfect part for Brian Cannon, who brought a lifetime of experience to the role. He made obnoxious into an art and whilst the audience might not have agreed with his methods, he made sure they saw the point from his side of the fence. It was a terrific performance.

The other standout in director Gary O’Neil’s solid cast was Katie Dowling as the bible-bashing Tea-Party voting, U.S. wife. Not at all the bimbo the family expected, she added a surprising depth to the scenario with a pay-off that imbued her character with warmth.

John Evans and Deborah Bishop were at home and just this side of bogan as the money-grubbing eldest son engineer Ian and his lawyer-wife Sue, with Beverly Wood breathing inward fire as Judy, the wife who’s husband has just committed suicide and has been left with nothing thanks Alan’s shady investment scheme. As her daughter Laura, and wife of Alan’s youngest son Ben, Michelle Wells frequently exploded with rage and wore her ex-hippie and leftist leanings as a proud badge of honour. Last minute addition to the cast Brendan Evans as Ben the University lecturer was the production’s weakest link. His use of an American accent was confusing, not helped by a tendency to mumble his lines.

The set, four panels at the rear of the stage which featured a spectacular view of Sydney Harbor, the Opera House and bridge, and a minimalist box centre stage used for seating, table etc, served the multiple locations well. O’Neil’s direction kept it fast and bubbling.

A recent addition to the Williamson canon, When Dad Married Fury may not be his best play, but it has enough zingers, wit and laughs to satisfy his target middle-class audience.

Peter Pinne        

Photographer: Dan Ryan