The sun isnt the only thing rotating.

Drama Theatre, Sydney Opera House, Sep 12 Oct 25.

Seemingly orbiting the stage, and consequently gaining a 360* perspective of the cleverly designed,
concealed yet open set, the audience is immediately enticed from the onset of this adaptation of
Children of the Sun. Exploring the lives of an introverted middle-class Russian family oblivious to
their undoing, this Sydney Theatre Co. production is laden with humour yet veined with
despondency. This Andrew Upton translation has been unquestionably trimmed and reduced from
its classical Russian ancestor, written by Maxin Gorky in 1905 during a time of intense revolt and
rebellion against the despotic Tsarist regime. However, Director Kip Williams successfully conveys
the universal themes present in the original manuscript.


Above: Justine Clark
Prostatovs wife, neglected and overlooked by her husband
(Toby Truslove). Helen Thomson also shines with a brilliant comedic performance playing Melaniya, a
wealth widow infatuated with Prostatov. However, Jacqueline McKenzies moving portrayal of the
frail Liza, the only character foreseeing the Prostatov familys downfall at the hands of those beyond
the gate, steals the show.

No attempt was made to hide the technicality of this production. Minimal lighting changes were
used, and only then to symbolise time and location. As a result, all of the audiences attention was
focused on the acting and set, a necessity in such a complex piece of theatre. Comparably, music was
used triflingly, paired with stage rotation and acting as a transition between scenes. However, in
order to heighten tension, increase pace and create an atmosphere of anxiety, sounds mirroring
rioting and mutiny were in a steady crescendo towards the plays climactic, fiery ending.

Perhaps the most interesting aspect of this Australian production was
its realistic yet reductionist set. Envisioned by designer David Fleischer,
the revolving country house with blatantly exposed sandbags and theatre flats, allowed for the
audience to fully experience every aspect of this play whilst removing actor-audience barriers. Such a
directorial decision is on par with contemporary Australian dramatic
techniques, removing all theatrical illusion and performing theatre as theatre.
Additionally, the rotating allowed characters to move around the stage,
without altering the audiences vector, and thus creating the illusion of space.

Bursting with political discourses,
scientific hopefulness and the
intricacies of human nature, accurate
characterisation and acting were
required for the play to be a success.
Each actor convincingly performed his
or her character, respecting the
realistic form so valued in early 20
th

century Russia. Special mention goes
to Justine Clarke, who stands out as
Prostatovs wife, neglected and
overlooked by her husband (Toby
Truslove). Helen Thomson also shines
Above: Justine Clark and Julia Ohannessian.

Williams production
delves deep into the
science and passion
of human nature.
His realistic yet high-
ly contemporary
directorial approach
allows the audience
to be fully encompassed within the
characters lives. As an audience member, you are exposed to the realities, challenges and
frustrations of modern life.
Although classical, Children of the Sun is far from pass, lingering in the audiences mind beyond the
third curtain call.

Children of the Sun is playing in the Sydney Opera Houses Drama Theatre until October 25.


















Notes:
Elements of drama: include tension, focus, rhythm, space, movement,
sound, time, symbol, mood, pace, pause and
atmosphere, character/role, actor and audience relationship. contrast

Elements of production: include direction, dramaturgy, design, technical
operation and stage management (see Elements of
Production in Performance page 20).

Directors concept and vision: is based on the directors creative interpretation of the
plays text, themes, characters, style, mood, structure
and context.

Design elements: include line, shape, space, colour, mood, atmosphere,
visual and aural texture, scale and visual relationships.
__________________________________________________________________________

Above: Revolving country house set.