With an abundance of award-winning 21^st century American plays touring Sydney at the moment, there has never been a better time to marvel at the quality of top-notch modern-day playwriting. Lynn Nottage’s Sweat is the latest production of this ilk to hit Sydney as the final production in the Sydney Theatre Company season at the Wharf 1 Theatre. 

Although written before Trump took office in 2016, this is a play that is very much written and concerned with the landscape of Trump’s America, and it certainly does not hide its didacticism in this regard. Set in the industrial town of Reading, Pennsylvania, with the backdrop of the local tavern being the scene of the entire play, the production immediately takes the audience into a world where workers are living paycheck-to-paycheck, but living a comfortable life with unionised benefits and a reasonable degree of security. However, as the play progresses, this security is lost as the factory for which the characters work cuts its workforce, causing anarchy in the town. 

The play has a very clear focus on race, with discussions around whether the promotion of Cynthia, one of the factory workers, was merit-based dominating the early part of the play and anti-migrant sentiment percolating throughout the production’s duration. As the play progresses, it becomes clear that Cynthia was really only promoted to provide the bad news to the workers and as strikes and industrial action ensue, the play culminates in an almighty brawl at the bar, which as we see at the end of the play, has lasting and tragic consequences for all. 

The acting is high quality, with Yure Covich doing a particularly fantastic job as Stan who serves as a de-facto narrator and social commentator throughout the play. His insights are probably the most illuminating of the play and drive the plot along and Covich gives the meaty role the weight it deserves, with a particularly compelling performance at the end of the play. 

Paula Arundell as Cynthia and Lisa McCune as Tracey are also strong, with their confrontations challenging the foundations of friendship and promoting the idea that issues of prejudice will always rear their ugly head beyond the superficiality of companionship. They are supported by Deborah Galanos as Jessie, who plays her comedic role well but serves little purpose in the overall complexion of the narrative. 

Gabriel Alvarado is superb as Oscar, conveying the anger of having to confront overt prejudice very convincingly. The other actors are also strong, although the lack of a clear chronology ultimately hurts their performance. 

As is always the case for the Sydney Theatre Company, the production values on show are high. Jeremy Allen’s set is well-considered, adding an ambiance which reflected the tensions on stage without detracting from the action. Zindzi Okenyo’s direction isalso strong, with careful transitions and excellent use of the space.

However, for all the play does well, its characterisation is somewhat lacking. Almost all of the characters feel a little one-dimensional and stereotypical, meaning that the story lacks the nuance for which the narrative calls. The non-linear chronology is also somewhat confusing, with the parole scenes featuring the sons of Cynthia and Tracy feeling out of place at the start of the play. Ultimately, it is symptomatic of a play that does all the right things on paper, but is missing an element of magic and cohesiveness when translated to the stage. Additionally, the use of archival political video could have been much more effectively incorporated, feeling like a mere afterthought when it was, in reality, quite pertinent to the story.

Overall, this is an interesting and thought-provoking play, with excellent writing in parts and superb character acting. The lack of a clear chronology hurts the show as does the superficiality of the characterisation, which is quite unfortunate given the potential for all the characters to be taken in meaningful and interesting directions. To be clear, this is still a fantastic play, but the prevailing thought leaving the production is of the opportunity to go further, which to some degree, overshadows the fantastic work done by the cast and production team on the stage. 

Rating: ★★★★

Sweat plays at the Wharf 1 Theatre until 22^nd December. For more information, click here.

All photo credits: Prudence Upton