Sunday is one of the final plays in the Sydney Theatre Company season and comes direct from the lauded Melbourne Theatre Company production that premiered early last year after a stop-start rehearsal process through the COVID lockdowns. The play, penned by Anthony Weigh, focusses on the life on Sunday Reed, one of the figures at the forefront of Australian art in the 20^th century and her relationship with acclaimed artist Sidney Nolan.  

It is often very difficult to strike the perfect balance in biographical plays of being true to the subject and maintaining enough interest in the storyline to keep an audience engaged. However, production does extremely well in managing this conundrum, using humour and the absurdity of parts of the storyline to entice the viewer and keep them hooked throughout the show. 

Interestingly, at the heart of this play is an exploration of power, with a surprisingly upfront portrayal of Reed as a flawed character and a tacit examination of her motivations. When Nolan comes to the Reeds’ house as an aspiring artist, the seeming generosity of Sunday Reed in inviting him to stay is quickly undermined by a desire that is described if not quite as hedonistic, certainly as lacking in the bona fides that initially meet the eye.

The evocation of setting is very well done throughout the production, with set designer Anna Cordingley uses the screens at the back of the stage well to highlight the time periods in what would otherwise be quite a confusing and disjointed chronology. Additionally, the setting of Heidelberg and the inspiration derived from that setting is well-captured, both by Cordingley and by director Sarah Goodes.

The acting is very strong in this production with Nikki Shiels especially captivating as Sunday Reed. She brings a dynamism to the role, while also exploring all the psychological nuances that underpin the character and is the star of the show. She is ably supported by Matt Day and James O’Connell (who learnt the role for the Sydney season in only two weeks) who are also convincing and compelling in the roles, although when all three are on stage, Shiels certainly dominates.

The show is lengthy, spanning nearly three hours (inclusive of the interval) and begins to drag as the second act progresses and there is less exposition to explore. A more concise (even possibly one act) play would arguably still do the story justice as there is certainly some repetition and redundancy in the second act. However, the acting and storytelling from within the script means that there is enough momentum in the production to keep it afloat, even when there is not a lot of action on the stage. 

Overall, this is a strong play, which although slightly long, makes up for it with the right balance of humour and interest. The acting, direction and set design are all of the highest quality and the story is transferred nicely to the stage. Perhaps most importantly, this is a play written in Australia which foregrounds Australian landscapes and stories. For those seeking a detailed look into the life of a renowned Australian cultural figure, this play is certainly worth exploring. 

Rating: ★★★★

Sunday plays at the Drama Theatre until 14^th December 2024. For more information, click here.

All photo credits: Prudence Upton