No tears for these fears

Alan Ayckbourn is sometimes credited as the second-most-performed playwright in the English language (after Shakespeare). I suppose given the prolific rate at which he wrote plays before a stroke in 2006, and the fact that he confined himself almost entirely to the stage rather than film and television, he might well have racked up more performances than contemporaries like David Hare or Harold Pinter. But like those writers, Ayckbourn is a success because of the quality of his material – and Private Lives in Public Places is no exception.

Written in 2004, the play is a snapshot of modern relationships as seen through the prism of six interconnected characters. And in keeping with modern theatrical conventions, none of them is perfect, and all could be considered “damaged goods” in one way or another. As my significant other commented on the way out of the theatre, it’s like Patrick Marber’s Closer – but not as depressing. It’s the kind of material that director Michael Gow eats for breakfast, and he certainly displays a fine touch here.

As I mentioned, there are six characters whose (mis)fortunes the play follows. Nicola (Sarah Kennedy) is hunting for a flat to share with her dissolute fiance Dan (Paul Bishop), who’s suffering the effects of time in the army and covers them up by drinking heavily. Real estate agent Stewart (Bryan Probets) discovers a dark side to his seemingly virtuous secretary Charlotte (Helen Howard). Charlotte also has a night job as a carer, and is called upon by Ambrose (Chris Betts) – who also happens to be the bartender at Dan's favourite watering hole – to help with his cantankerous father. On the home front, Stewart is living with his sister Imogen (Louise Brehmer), who’s not having a lot of luck playing the singles scene.

In true “six degrees of separation” style, the characters intersect with each other in a variety of ways, some of them mundane, some of them shocking. Ayckbourn says that some of his most important influences come from the cinema, and that shows in the way the play develops. Unlike traditional theatre in which the scenes are usually lengthy, this play employs short, sharp scenes, with frequent changes of location; something usually associated with film.

The inventive set design by Bruce McKinven allows for that rapid-fire interaction and is an object lesson in the effective use of the stage space, both horizontally and vertically.

The cast turn in fine efforts all round, although I was particularly taken by Chris Betts’ sensitive and understated effort as Ambrose. The only real negative note came with a few slippages in the English accents as the play went on, but that’s something that’s sure to improve with time.

The QTC scored quite a coup in scoring the first Australian rights to Private Fears in Public Places. This is a quality offering from a quality writer, brought to life by a quality director and cast.

David Edwards

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Private Fears in Public Places

Company: Queensland Theatre Company
Venue: Cremorne Theatre, QPAC, Brisbane
Dates: 15 February - 17 March 2007

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