Family Values. By David Williamson. Directed by Lee Lewis. Griffin Theatre Company. The Playhouse, Canberra Theatre Centre. Bookings (02) 6275 2700 or canberratheatrecentre.com.au. Until March 14.
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David Williamson's Family Values is an explosion of a play, a funny yet disturbing look at where Australia stands now regarding refugees, detention, boat people, and a host of attending moral, political and social issues. Bushfires, climate change and coronavirus don't get a look in but there's more than enough going on to make a bleak comedy full of a certain grumbling anger that might cause a little national self reflection.
During preparations for his 70th birthday party, retired judge Roger (Andrew McFarlane) is disconsolately trying to blow up balloons, faced by a family reunion that might turn out to be anything but festive. His wife, brisk and practical social worker Sue (Belinda Giblin), jollies him along. But as soon as the now grown up kids start to arrive it becomes clear that all the balloons and party hats are not going to achieve harmony.
Divorced daughter Lisa (Danielle King) comes with refugee-on-the-run Saba (Sabryna Walters) in tow, both desperate for a way to prevent her return to Nauru. Divorced son Michael (Jamie Oxenbould) turns up. He has found God and stability of a kind with Hillsong.
Divorced and fragile younger daughter Emily (Ella Prince) brings her partner, the bluff Noeline (Bishanyia Vincent) whom she is intending to marry. Emily and Noeline both work for Border Force.
It's not lost on the audience that the combination of all of these means eventual revelations and disaster. Sensibly, the play runs about 100 minutes and has no interval, allowing for a tight progression. And despite the seriousness of Saba's predicament, given moving expression at several points by Walters, there's still room for a degree of boisterous humour and truth telling among the siblings.
None of them have outgrown childhood squabbling. Oxenbould's self-centred Michael still yearns for his Lego, King's assertive Lisa can still find and push his buttons and Prince's fragile Emily still nurses the complaints of the left-out child born third. How she is going to get along with the overbearing Noeline is of some concern to her mother.
But it's the rising tension over Saba's position that drives most of the play and compels strong moments of reflection on Australian cruelties.
Meantime Roger is the helplessly still centre. McFarlane has long stretches with very little dialogue but much expressive reaction. Roger can barely even find his car keys. The irony of a judge not seeing ways to use his power and privilege is not lost on most of his family and it is left to Giblin's eminently sensible Sue to work something out.
It's a little pat at the finish and a little preachy overall and there are more potential endings than the final Lord of the Rings movie. But there is plenty of Williamson's humour and his sharp way with a one-liner. There are also enough moments that still the laughter and compel reflection. Griffin Theatre's production does the play proud.
