Three friends gather at the coastal weekend property of a recently deceased friend, and over the course of a weekend, discover secrets about each other and about the nature of their friendship. As a short plot synopsis, this sounds somewhat familiar - it's a familiar trope in literature to use this kinda post-funeral device to bring people back together, and it's true that the nature of the secrets, when they are revealed, aren't necessarily all that exciting, but there's a building power in Sue Smith's adaptation of Charlotte Wood's novel, particularly as it's brought alive in Sarah Goodes' smooth and stylish production.
Played out largely on a raised deck designed by Stepehn Cirtis, the three women and the impaired, incontinent dog that accompanies them play out the tensions as it turns out they didn't know their mutual friend nearly as well as they'd hoped, and as they find out details about the past that threaten to shatter their bond - and some very present threats, from the temptation of a new role for the actress (Belinda Giblin) whose most praised role is very much in the past, the isolated academic (Melita Jurisic) trying to care for the dog her friend left behind, or the organised businesswoman (Toni Scanlan) whose brittle contempt for her friends breaks when she needs them most. The observing, bewhildered dog (played in puppet form by Kelia Terencio) is a constant quizzical presence, whether just observing the humans or losing control of his bladder or his stomach.
This is a rare case of Belvoir serving up something fairly conventional, but they do it pretty well, and the ending brings everything together strongly in an emotional climax that rewards the viewing. audience. It's touching and heartfelt and a beautiful evening.
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