Other Desert Cities

‘Other Desert Cities’ by American playwright and professor of theatre studies, Jon Robin Baitz, is a superbly written and gripping story of a family reunion. It is the latest wonderful combined offering from Black Swan State Theatre and the Queensland Theatre Company. This masterpiece in writing only premiered on Broadway less than two years ago, it is now showing at The Heath Ledger Theatre in the State Theatre Centre of WA in Northbridge.
The 140-minutes performances are at 7.30 each evening until 4^th August.

The truly stunning set by award winning, WAAPA trained designer, Christina Smith, depicts a luxury home in the Palm Springs hills facing over the desert. The stage has a large apron into the auditorium for a sunken sitting area with working gas room heater. Behind, is a wall of floor to ceiling windows facing onto a pool and a sunbathing patio. The interior is extravagantly furnished, with cream fittings and floor coverings. On the walls are framed cinema posters and a very large Christmas tree stands in the corner.

         It is Christmas Eve 2004 in the palatial home of Lyman Wyeth (Robert Coleby), a film star who made his fortune as an actor in the Reagan era. He is now retired and living a quiet life with his loud, bigoted wife, Polly (Janet Andrewartha) who enjoys ‘Chinky food’ and has ‘the sarcasm of a homosexual’. Polly loves the richer side of life and wallows in their wealth. She now cares for her boisterous sister, Silda (Vivienne Garrett), who has just come out of rehab clear of drugs and drink.

        Despite being Jewish, Lyman and Polly have decided not to go to the usual Country Club, but instead to celebrate Christmas at home with their adult children. Their self-centred son, Trip (Conrad Coleby) is a TV exposé show producer, and their daughter, Brooke (Rebecca Davis) is a loving, caring person that has spent years battling her inner doubts and fears. Uncertainties brought about by the sudden death of her close brother in controversial circumstances. Her parents have avoided discussing the death of their son, hence this is the first time in six years that Brooke has returned to the family home.

        Fed up with the family bickering, and in an attempt to purge her mind of doubts, author Brooke has written the family story – warts and all – and decided to publish the memoire.

        The tension in the house is palpable as the family are faced with this public airing of their lives.

Director Kate Cherry, ably assisted by Emily McLean, has given a real depth to this wonderful story. The mild American accents (coached by Julia Moody) were well matched and just enough to give the location without grating.

The play starts quietly, as a simple kitchen sink drama, but soon the true personalities of the characters show through. The very different styles of performance required were amazing in their clarity, as the various family members traits came to life. Some relatives you will make you cringe, whilst the plight of others will bring a genuine tear to your eye.

When the tension came to a climax, The Dixie Chicks music ‘Landslide’ gave a slight relief (sound by Tony Brumpton). I must point out quickly that this play is not all doom and gloom; there are some extremely funny passages and the many politically incorrect comments - that were still in abundance only ten years ago - brought an uncomfortable smile.

The brilliant lighting changed very slowly as the sun was setting; ranging from the warm afternoon glow to rich reds and the pale blues of late evening. Designer, Trent Suidgeest, incorporated a very convincing water reflection on the walls of the house, as the light bounced off the simulated ‘water’ of the pool.

All of the actors’ performances were outstanding and totally credible. I will not spoil the story by describing their actions, but this is a 'must-see' play, with performances, technical production and direction at its very best.