![]() ![]() ![]() ![]() Jillian Murray won a Green Room Award for this performance, and rightly so. His supreme disinterest in his wife seems at once the callous reflex of a narcissistic, emotionally stunted man, and an understandable defence to Claire's incipient insanity. Rob Meldrum's Pierre emerges from within a cell of aloofness that can be almost comical. His production is stripped back to two superb performances, which flesh out the enigma, and disturbing beauty, of this story through understated characterisation and propulsive rhythm. No Australian director is as attuned to Duras' work as Laurence Strangio. Its poetry relies on chiselled particulars as the great intensifier its drama the gulf between them and any symbolic truth. As with Garner's whydunits, this play negotiates the porous border between evil and madness, imagination and reality, memory and fact. Helen Garner once wrote that "in times of great darkness, everything around us becomes … poetic". ![]()
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