★★★½
Monster, directed by Kim Hardwick, is a stripped-back exploration of who’s responsible when a child becomes violent, presented by Tiny Dog Productions for the first time on a Sydney stage, in association with bAKEHOUSE Theatre Co.
Monster was originally written in 2007 by English playwright Duncan Macmillan. It follows teacher-in-training, Tom, who offers himself to deal with the violent and troubled student Darryl. This dynamic is striking and is the primary driving force of the play.
Though given very little time to prepare for his role after stepping in at the last minute, Tony J. Black is still quite impressive as Tom. Hailing from Detroit, Michigan, he has appeared in NCIS: Sydney and the Peacock original Apples Never Fall.
Through his careful body language, Black creates the image of a man grasping for control. Scenes with Campbell Parsons as Darryl are particularly gripping. This stands out in the first half of the show as tensions rise.
Parsons is very well cast as the troubled high schooler. He nails the humour and mannerisms of a boy of Darryl’s background. The flippancy communicated through his body language elevates what could be considered a dated script to something very entertaining. In the earlier parts of the play, his behaviour is even humorous.
As the play continues, we’re introduced to the supporting cast. Jodi, Tom’s girlfriend and later wife, is played by Romney Hamilton. She enters, announcing her pregnancy, a moment that brings little celebration, as Tom seems visibly disturbed. It’s an early sign that this isn’t a play with a hero.
As Rita, Darryl’s grandmother, Linda Nicholls-Gidley, does an excellent job of upholding a British accent. Rita symbolises a lot of the play’s hope in the sense that she continues to support her grandchild despite their circumstances.
The lighting by Topaz Marley-Cole is simplistic and perhaps most notable in the classroom scenes. The brighter, cooler tones create this sanitised interrogation room feeling.
The sound design by Charlotte Leamon is minimal. The classroom scenes are quiet, which creates tension and ensures the scenes between Parsons and Black are noticed. The music playing between scenes is gritty and does a great job of building tension.
Monster asks a lot of questions and leaves the audience to answer them. It plays with classic debates about nature vs. nurture, and nearly every possible argument is addressed in some way. It’s a truly thought-provoking example of modern theatre and a masterclass in tension.
Perhaps in its most shocking, the play graphically describes violence against a dog. Scenes that cover heavy topics like this are very well acted, but perhaps the show’s content warnings could have been more specific.
Though never boring, the show falters slightly in pacing. The ending stretches a little long and feels unnecessary given that all the thrilling twists and turns have already been resolved.
Overall, Monster is a well-acted, thought-provoking play that tackles questions society still struggles to answer.
Monster is presented by Tiny Dog Productions in association with bAKEHOUSE Theatre Co and runs to 21 March. KXT on Broadway 181 Broadway Ultimo NSW 2007.
Tickets: https://events.humanitix.com/monster
Website: https://www.kingsxtheatre.com/monster
Socials: https://www.instagram.com/tinydogproductions/ and https://www.instagram.com/kxt_bakehouse/
Photo credits: Abraham Da Souza
