REVIEW: Kym Vaitiekus shares his thoughts on SWITZERLAND

 Tuesday 7Th May 7:30 2024, The Ensemble Theatre, Kirribilli

The Ensemble Theatre is very smart. How can one go wrong with a Joanna Murray-Smith work directed by Shaun Rennie and featuring Toni Scanlon with Laurence Boxhall.

SWITZERLAND.  In the Swiss Alps of 1995, the reclusive crime writer Patricia Highsmith (Toni Scanlon), battling illness, receives a visit from (Laurence Boxhall) a friendly young representative of her New York publisher. His mission: to persuade her to pen the conclusive chapter of her immensely popular Mr. Ripley series.

The challenges of a creative mind, the responsibility of fame, an ailing body and the blurring of reality with fiction come together in this witty, fast paced cat and mouse game.

Scanlon is beautifully cast as the grumpy, seasoned and jadded popular writer. A consummate performance that thoroughly engages you. The detailed nuances, the depth of character and a commanding presence are the elements of Scanlon’s superb portrayal.

Boxhall is wonderfully coy as the publisher’s lackey. He embodies the eager, awkward, innocent, and dedicated fan who uses his position to meet his favourite author. The subtle layers in Boxhall’s portrayal of Ridgeway are on point and a delight to watch.
When you see this production you will experience the full scope of his talent.

This duo perfectly deliver the lines to emphasis the challenging and tumultuous relationship that develops between them. Their performance is immensely engaging as we experience each character’s journey and how their mutual connection intertwines and clashes.

Veronique Benett’s set wonderfully portrays the Swiss writer’s retreat. A home for a soul who is yearning for solitude. The concrete wall, stylish and imposing, cements Highsmith’s separation from the world. The comfortable warm tones and cluttered desk adds charm to the self-imposed seclusion. 

Ryan Kelly’s music and sound design set the tone with drama and finesse. From the opening audio, the calibre of the evening is set.

Kudos to Linda Nicholls-Gidley as Dialect Coach, the accents flawless. And notably to Nigel Poulton, Intimacy & Fight Director. One crucial scene is subtly, and thoroughly convincing.

Johanna's script epitomizes artistry and finesse in its execution, deftly achieving its intended effect: how does one navigate the intricate terrain of literary success when the world clamours for further tales of a beloved character. As Highsmith and Ridgeway tussle over signing a new literary contract, their individual goals, fears and driving forces are revealed through the clever and punchy dialogue.

Rennie has executed another stella directoral feat. Finessing his choices as he brings all the elements of the production together. Although one aspect was a little unclear, the blurring of reality and fiction. Whether this was intentional or not, it created enthusiastic debate between the audience members as they left the auditorium.

What is Joanna Murray-Smith’s own SWITZERLAND?  Here’s an award-winning writer scribing about a renowned writer who is in a writer’s dilemma. Is there another onion layer yet to be revealed? My question is spurred on by the excellence of SWITZERLAND and wanting more.

A new layer or not the current ones are a must see.

SWITZERLAND May 3 – June 8

Photography Brett Boardman

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