I've clearly been out of the elite-person loop. I had, until this play came along, no idea who Mark Colvin is. I used to listen to ABC radio's PM program back in the late eighties and early nineties, but ... well, there's an awful lot of media about these days and when I'm driving, I prefer songs.
Never the less, the story of how he got a kidney transplant is an intriguing one - particularly the details of the woman who donated it, and how she got to know Colvin. Sarah Pierse incarnates Mary-Ellen Field, a rare figure on Australian stages as she's a sympathetic conservative character - smart, perhaps mildly irritable but all-in-all, remarkably strong and determined to do what she views as the right thing.
It's a pity the rest of the play that surrounds her falls a little flat. John Howard as Colvin is quite under-powered - the writing for him is a little thin, but Howard's performance seems frequently so sedate that the central meeting of minds that needs to happen just doesn't.
The remaining supporting cast all play multiple roles - Helen Thompson most noticably as Elle McPherson (the rest of her roles are very throw-away), with Peter Carroll scoring in a range of roels from Field's husband to a disconcerted priest.
David Berthold's direction finds it difficult to find a central flow to the play - the short scenes connected by scene-changes as furniture is re-arranged don't tie together very well (although Vexran Producitons' projection design combines very well with Michael Hankin's set to get rich visuals, they never quite link in clearly to what's going on in the scenes and instead are just a nice visual distraction).
This is a play I really wanted to like but instead was left a little cold - the human connection between the characters, for me, just wasn't there, and while this taps on a couple of hot button issues, in the end everything is left just a little under-explored. So it's a disappointment.