Review: THE PUZZLE at Space Theatre, Adelaide Festival Centre

Reviewed by Barry Lenny, Tuesday 24th September 2024.

The latest offering from the State Theatre Company of South Australia is the world premiere of The Puzzle, the latest play, a black comedy, from David Williamson. The press release explained that, “When the Dunstan Playhouse opened in 1974, former Artistic Director, George Ogilvie, commissioned Williamson to write the now legendary play, The Department, for State Theatre Company South Australia.” A half-century later, it seems fitting that another new play of his is to be performed by the Company in that same venue. The production is directed by the Company’s Associate Artist, Shannon Rush, who has assembled a highly experienced cast.

Middle-aged couple, Mandy and Craig, live what he has come to see as a sexually stagnant, unadventurous, unexciting marriage. He has ‘done his research’, finding people who agree with his belief that extramarital sex will be beneficial for them and their physical relationship. He eventually convinces her, with some difficulty, that they need to do something to spice up their marriage, and she reluctantly agrees that he book a holiday on a ‘lifestyle’ cruise. Another couple of equally well-off and similarly middle-aged passengers, Brian and Michele, are on the ship and they have similar ideas. Both couples are facing a future in which their children will soon be off their hands, giving them a new freedom.

The very conservative and rather dull accountant, Drew, however, mistakenly thought that he was going on a Mediterranean history tour, hoping through this to get closer to his estranged and very liberal-minded, sexually adventurous daughter, Cassie. He cannot understand why so many of the passengers remain in their cabins instead of going ashore to look at the ancient architecture whenever they reach port, and he passes the time while at sea working on a jigsaw puzzle that, eventually, reveals itself to be of a painting by French Impressionist, Pierre-Auguste Renoir, from 1881; Luncheon of the Boating Party (Le Déjeuner des canotiers). This is the puzzle of the title, but also a metaphor for all that transpires, and the other puzzles that develop. Drew is also puzzled by the inverted pineapples on many of the cabin doors. Cassie will enlighten him, and he will find out far more about her than he ever wanted to know.

A large screen in the middle of the backdrop provides date information, as the action goes to and fro from the present to flashbacks, and snapshots of the progress of Drew’s puzzle, as well as other visual insights, all designed by Mark Oakley.

Mandy and Craig are played by Ansuya Nathan and Nathan O'Keefe. O'Keefe presents Craig as highly enthusiastic about the prospect of joining a cruise and meeting other swingers, while Nathan’s Mandy is a sober, sensible woman with strong reservations about the idea. They make a great duo, with that underlying degree of conflict never far away. Their individually well-developed characters blend into a convincing couple with years of marriage behind them.

Anna Lindner and Chris Asimos play Michele and Brian, initially appearing as equally keen on what they have planned but, later, like Mandy and Craig, it turns out that it was the idea of only one of them to begin with, in this case, being Michele’s initiative. Lindner and Asimos are also a good pairing, believable as a long-married couple seeking something more. They both give lively performances as a couple of extroverts, sparking off each other.

Erik Thomson plays Drew, and Cassie is played by a newcomer to Adelaide audiences, Ahunim Abebe, and the generation gap goes far beyond their tastes in music and wardrobe. Thomson’s extensive experience shows in every aspect of his performance as the bewildered Drew, whose only success on the voyage is completing the jigsaw. Abebe’s characterisation is diametrically opposed to Thomson's portrayal of Drew, As his vivacious and worldly-wise daughter to his dull and naive accountant, she generates plenty of laughter with their clash of personalities. I am confident that we’ll be hearing more of her.

Although no dates are mentioned for the action in this play, the electric guitar in Andrew Howard’s music is reminiscent of the continual use of the wah-wah pedal by Charles ‘Skip’ Pitts in the soul/funk theme by Isaac Hayes for the 1971 film, Shaft. It is an unusual juxtaposition, of course, as ‘lifestyle’ cruises are a much more recent phenomenon than ‘blaxploitation’ films, and this play is definitely right up to date, with the mention of Brian’s work in creating AI applications, and a passing jab at Peter Dutton that brought forth a big laugh.

Ailsa Paterson’s wonderfully elaborate set design blends the main recreation lounge, bar, bedrooms, and sundeck, using Mark Shelton’s lighting design to separate the individual locations as needed. The décor, though, also hints at the 1970s. Curiouser and curiouser, but somehow it worked.

The audience found plenty to laugh at in this production and, no doubt, you will, too.

Photography, Matt Byrne.

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