There is something truly exciting about seeing the premiere of a new work for the first time. However, often, by virtue of being relatively untested, new plays can be a little ‘rough around the edges’. This description couldn’t be further from Angus Cerini’s play, which opened at the beautiful Wharf 1 Theatre last week. This is a play that was as polished as they come and was perfectly crafted to tell the quintessential Australian bush story in a truly meaningful way.

This is a play of many layers and indeed, it has a lot to say about many different things. For me, this is a play that was primarily about loss. Set in the depths of the Australian outback, Ray (played by Colin Friels) and Floss (Kerry Armstrong) lead a good life on a cattle farm, until a downpour of rain (much-needed due to the drought) forces Ray to shoot his prized cattle. Ray, although weary, moves on in the only way he can, by simply getting on with it with his beloved Floss by his side. 

It is her sudden death that throws Ray into a tailspin. Left with a farm that he can no longer manage and a son (played by James O’Connell) that wants nothing less than to take on the responsibility of managing the property, Ray feels as though he is losing everything. He gets in trouble with the law, threatens the crook next door and begins to increasingly rely on his housekeeper (played by Renee Lim) as he embarks on increasingly ambitious projects (such as regrowing all the trees on his land). 

Friels does a superb job playing a man in distress who has lost everything he ever strived for and his inner anguish is painfully clear to see, no matter how much he tries to supress it. This is a man who has been brought up on stoicism, to the point where he struggles to outwardly express his love for his son and as his world collapses around him, he increasingly realises this is a situation he simply cannot control. Friels’ performance is devastatingly superb and he is incredibly well-complimented by both Armstrong and Lim, who shine in their own rights throughout. 

This is an incredibly well-written play from start to finish. The pacing is superb, with engagement high throughout the 90 minute performance. If being extremely critical, there is perhaps slightly too much time taken setting the scene at the very start of the play but once the action starts, there is absolutely no meandering which allows the writing to shine. 

Notable also is the brevity of the dialogue. Often few words are spoken in a number of scenes, with the silence used expertly to punctuate the narrative. In a way, this only adds to the sense of loss that the audience feels for Friels and makes his performance even more heart-wrenching. The fact that the depths of the human psyche are explored not by words, but indeed, by things left unspoken is a credit to the production team, led by Director Paige Rattray and to the actors on stage. 

This is a story that needs to be told, and as always, the Sydney Theatre Company has explored all the layers of this tale with skill, subtlety and nuance. One can only hope this play tours around Australia after the STC run concludes as it is one that should be heard by as many as possible. 

Rating: ★★★★★

Into the Shimmering World plays until 19^th May at Sydney’s Wharf 1 Theatre. For more information, click here.

Photo credit: Daniel Boud