Mordialloc’s latest offering is “Hearth” by Fleur Murphy. A family drama that is played out against the backdrop of the “Black Saturday” bushfires on February 7, 2009. The destructive forces of nature outside mirror the volatile unravelling of the family inside.
 
The Robinsons (mother Barb, father John, their two sons Matthew and Tom, and Matthew’s partner Abbey) have gathered at the family’s Kinglake home to celebrate Tom’s 18th birthday The plot centres on the birthday celebrations with its archetype family tensions and also the revelation of a devasting family secret.
 
The structure of the writing is complex – going between present, past and future – and we are slowly given hints to inform us about this family through dialogue, flashbacks and monologues. It is always hard to stage an episodic play, and on occasion, it takes a moment to register the time and place of some of the 30+ scenes which is distracting but a product of the writing. However Director Damian Jones’ strong vision for this story is evident in the production and, despite some scene changes being less efficaciously handled than others, he and his cast have worked hard to make it accessible to the audience.
 
This starts with the technical and creative team’s concept for the production. Martin Gibbs and the director designed a skeleton set that shows us the kitchen and dining area of the house, while the upstage centre there is a chimney and mantel which is used to hang the birthday banner on but also symbolizes the post-fire devastation. So often chimneys are the only ghostly remains of houses after a fire. This is also represented in the collapsing of the wall on SR and the raising floorboards (Special Effects Neil Barnett), also symbolic of the familial breakdown. Downstage left is an exterior depicting a cleared patch on the property, tree stumps and leaves beautifully suggesting the Australia bush. Jason Bovaird’s lighting design is excellent. The use of haze along with stunning, changing and intense colour effects on the Cyc make for an evocative and effective atmosphere. This is enhanced by Tim Long’s haunting soundscape which builds the tension of the drama unfolding through music, clock ticking, news reports, emergency sounds and ultimately the crackling of the fire. Christina Soliman’s props dressed the set well and suited the changing time periods in the storyline.

Matthew (Blake Stringer) and Tom (Sam Wyles) are 17 years apart in age; they lead very different lives and have never quite connected, but as Tom’s behaviour and actions over recent years threaten to see him in serious trouble he reaches out to the brother with whom he wishes he had a closer relationship. The dialogue in opening scene particularly captures the gulf between them. Each of these actors rose to the challenge of their respective roles making the most of their monologues. Blake nicely portrayed suitable pathos as the older brother who does ultimately step in. Occasionally Sam started on such a high level leaving little room for expansion but mostly captured the turmoil of the character.

Stephen Rogerson turns in a natural performance as husband and father, John, as he tries to hold everything together. Lyn Laister communicates Barb’s early stages of dementia well. However, I did find some of the scenes between them somewhat stilted which belied the dialogue.

The character of Abbey is visiting for the first time and Breanna Geer depicts the discomfiture of someone thrown into an awkward situation handling well the limited dialogue afforded the character.  Also underwritten is the character of Sergeant Lauren Reid but Tanya Wade imbued the character with a solemnity and compassion as befitted what the character needed to be.
 
I commend the efforts of all involved with this production and despite my reservations about the play itself – the tediousness of the confusing time and location shifts and perceived symbolism between the catastrophe of the firestorm and the disclosure of the family secret – the ambiguity of the play’s end does lend itself to discussions all the way home from the theatre.