The Children is a powerful thought-provoking play, dealing with the aftermath of a nuclear incident and the associated environmental upheaval. Written by Lucy Kirkwood, and first performed in London in 2016, the play was remounted in 2017 on Broadway, receiving 2 Tony Award nominations for Best Play and Best Actress. The 2018 co-production between Sydney and Melbourne Theatre Companies won awards for Best Direction and Lead Actress in a play. With such a strong pedigree, it is no surprise that this is an absorbing and beautifully crafted piece of theatre.

Set in an English coastal village, retired nuclear physicists Hazel and Robin are living in a small cottage after their own property was damaged and now sits in the nuclear exclusion zone, following an incident at the nearby nuclear power plant. Their relatively peaceful lives are shaken by the visit of a former physicist friend and colleague, Rose, who has arrived to assist in the making-safe of the nuclear plant. While revisiting memories from their joint past, Rose tries to influence Hazel and Robin to get involved in the site clean-up. Should they leave this responsibility to the younger generation, or should they, as retirees with a limited future, take a greater role in undertaking this health endangering exercise? Clearly, there is some meaty material in exploring this dilemma, and we are taken on quite a ride over the 90 minutes of the play.

On entering the theatre, we are transported into the modest cottage kitchen and dining area. Martin Gibbs and the Mordialloc set team have created a space which provides atmosphere, and a number of acting zones. Walls and doors conveyed a country cottage simplicity, complete with wear and tear flaws, including cracks in the plaster! The kitchen is used frequently in the action, with a bench configuration that allows appropriate action to focus forward. The simple dining setting and lounge chair blend well.  

Director Peter Newling has assembled a wonderful cast for this 3-hander play, with each of the roles significantly challenging.

The highly awarded Juliet Hayday plays Rose, and brings her wealth of experience and skill to the role. We are reminded of a long ago relationship and familiarity between the characters during the early dialogue, a counter to the pressures now being explored. Juliet delivers past, present, and future perspectives with lovely timing, inflection, and body language and is a delight to watch.

Phil Lambert played Robin with assuredness, bringing a different and energetic dynamic to counter the two women in the cast. His physicality and ‘rough edges’ brought life to the role, but subtly contrasted with the things he had chosen to hide from wife Hazel, in attempting to shield her from the worst of their current circumstances.  A wonderfully rounded performance.

The role of Hazel was played by the experienced Lyn Semler, making a return to the stage after an extended absence. And what a return it was! Hazel is wanting a more peaceful retired life, but is challenged by the upheaval following the plant incident, further compounded by the visit by Rose. Lyn’s portrayal of Hazel was wonderful, delivering a truly believable character, while busy with the domestic action in the kitchen, a husband who disappears daily to attend to the cows, and the unsettling arrival of Rose.

The unveiling of story, and direction of the action around the stage and interaction between the characters was beautifully handled by Peter Newling. Having such a skilled cast is a terrific advantage, but Peter used the space, and balanced the action and emotion wonderfully – again a testament to his extensive experience, but so very nicely done, and a pleasure to watch.

All the supporting technical areas did well – sound design by Tim Long, Tony Wood’s lighting design, and Lyn Laister’s props, all adding to the quality of the production without intruding.

As a reviewer, it is a pleasure to sit in a theatre and be taken on a journey by a production of such quality, consistency, and balance, delivered by Peter Newling and the Mordialloc team. And while the subject matter may not appeal to all audiences, for seasoned theatre goers, this is an opportunity not to be missed.