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With Maeve Marsden’s BLESSED UNION there was just so much laughter. It was very refreshing as Belvoir’s upstairs theatre is often home to some sombre works.
The scenario is an unlikely one to bring much mirth but somehow the playwright manages. Long time partners Ruth and Judith announce to their children, Delilah and Asher, that they are separating. The separation will start with them sleeping in separate beds. From now on Ruth will sleep in the downstairs bedroom. The kids are in shock. The announcement has come out of a clear sky.
They are bemused with their parents emotionally absent, deadpan, very matter of fact, almost bureaucratic approach to separation. They put up a vision board whereby they can monitor aspects of family life. Delilah pointedly asks them if they have thought of the future financial repercussions. Their reply indicates that they are so ‘in their heads’ that they have given this obvious concern little consideration. The play follows the family’s fractured journey up until the following Christmas Day.
I loved much about BLESSED UNION. Marsden’s writing was so clever, sharp witted, astute, and that word again, refreshing. I enjoyed the way the play took aim at pretentiousness, even within her own community.
This is a direct quote from the playwright. ” BLESSED UNION. is a celebration of lesbian families, but it is also a loving and playful critique. It’s taken a long time to realise what a privilege it is to laugh at the worst of ourselves. When you grow up in a queer family, on the political back foot, you spend a lot of time not giving the other side canon fodder; having space to be messy and flawed in public, and on stage, feel like a freedom to me.”
There was just one scene which blotted ‘the play’s copybook’. Midway through the play we find Judith an emotional mess, well nigh catatonic. A few scenes later she is sprouting twentieth century Russian history and the Russians love for vodka. It jarred. For me, Judith’s rapid transition from being a complete mess to giving a ‘lightning’ lecture on recent Russian history, was a stretch too far.
This was a four hander, which worked well, with the playwright thankfully not including extraneous characters. As the parents who try to navigate their way through their separation, two very experienced actresses, Danielle Cormack as Ruth and Maude Davey as Judith, give strong performances.
Cormack’s Ruth was a very compassionate, left wing lawyer who balanced a demanding job with raising her two children with her now ex partner, Judith.
Davey’s Judith was a left wing, very ‘in her head’ school teacher who perhaps takes life just a tad too seriously.
Emma Diaz as daughter Delilah and Jasper Lee-Lindsay as son Asher played their two children who have to navigate through their parents tricky, capricious ways to try and find their own paths in the adult world.
Diaz’s Delilah is sharp with her tongue and easily unsettled. Delilah is studying law, trying to follow her mum Ruth’s path.
Jasper Lee-Lindsay’s Asher is whip-smart, witty and constantly exasperated by his parents. It is a great comic performance, my favourite performance of the night.
Hannah Goodwin’s creative team leant great support- Isabel Hudson’s impressive set and apt costume design, Amelia Lever-Davidson’s sharp lighting design, and Alyz Dennison’s very impactful, percussion based soundscape.
What a stunning, impressive playwriting debut. A Belvoir Street Theatre production in association with Sydney WorldPride 2023 and supported by Oranges & Sardines Foundation, Maeve Marsden’s BLESSED UNION is playing in the upstairs theatre at Belvoir Street until the 11th March 2023.
http://belvoir.com.au/productions/blessed-union
Featured image : Danielle Cormack and Maude Davey. Pic Brett Boardman