William Golding's Lord of the Flies, Canberra Repertory, Canberra Rep Theatre, 25 Jul-10 August

 

William Golding's novel celebrates its 70th anniversary this year but in many ways, it's the kind of story that, in our current era, can never really feel that old - it's about the centre of collective human experience as a group of boys, stripped suddenly of parental control and the civilisation around them, their struggles to form their own society doomed by the petty snobberies they bring with them and their fears of the world they have arrived in. It can be seen very easily as a view on the British Original Sin of colonialism, on how the subjugation of the other ultimately rots those inside, but also a view on the flaws of liberalism in the face of fascism, as fascism's irrationality ultimately resists any engagement from those who wish to explore the world through reasoned debate. It feels like now because it will always feel like now as long as political debate has any engagement with the irrational parts of human nature. 

In Rep's current production, directed by Caitlin Baker and Lachlan Houen, a cast of 13 tells the tale on a multi-level jungle set by Michael Sparks, giving us areas of focus to represent the hills, the shelters, the beach and the wild woods, as the boys first come together before splitting, finally irrecovably, into factions. Leading the cast as our flawed protagonist Ralph is Joshua James, our naive hero who is appointed leader before he's ready, and struggles with the requirements it has for him. Opposing him for much of the evening is Ty Mckenzie's Jack, at first a ridiculous petty snob holding on to his one ridiculous point of power (as Choir Prefect) before finding a position in the hunters that allows him to use his supposed authority on those around him. Winsome Oglvie as Piggy is the heart and wisdom of the play, but carefully maneuvered to have Ralph standing between them and the others to represent those ideas to everyone else so they won't be blamed for coming up with them - it's a display of emotional power and physical weakness that is ultimately heartbreaking. Around this trio are Lilly Willmott as the doomed inquisitive Simon, Robert Kjellgren as the disturbed Roger, and Brandon Goodwin and Zoe Ross as the paired naifs Sam and Eric, reaching for one another even as everyone else splinters around them. 

Chris Ellyard's lighting is evocative, moody and tight, and Neville Pye's island soundscape throughout feels threatening and alarming. Costumes by Antoina Kitzel look suitably polite at the beginning and disintergrating at the end. 

It's a powerful story to experience in real-time, played out in front of us - but it's a compelling evening too, with rich performances and production conveying it with all the power and intelligence of the original.