Guy Edmonds and John Wood. Photo: Prudence Upton
Is there irony in David Williamson’s final play having euthanasia and death as one of its themes? Or a little black humour, perhaps? Either way, Crunch Time centres on Steve, a successful businessman with a loving wife and two adult sons who isn’t long for this world. He wants to go out with dignity, and therein lies one of the problems: to spare himself the ‘prospect of becoming half human’ he wants control over his demise, and that’s illegal.The other key theme is of sibling rivalry – as often has been the case with Williamson, family conflicts provide him with much subject matter and usually humour. Crunch Time is no different in that respect, although this play is not so visceral as some of his others.
Steve (John Wood) is married to Helen (Diane Craig), who gave up what may have been a promising career as a classical musician to be with him. Together they have two sons, Jimmy (Matt Minto), his father’s gung-ho favourite and the heir to the business, and Luke (Guy Edmonds), whose lack of interest in sport and general nerdiness have long caused Steve disappointment. Both brothers are married, Jimmy to Susy (Megan Drury), who is a psychologist; and Luke to Lauren (Emma Palmer), whose work often involves lots of overnight business trips. Both marriages are rocky, which gives rise to some typical Williamson repartee, all nicely done but none of it really adding or subtracting to the issues at play.
More to the point is Luke’s seven-year estrangement from his father, born of lingering resentments. He seems resolute in keeping his distance, even though Steve is dying. Jimmy, the chosen one, is asked to import Nembutal, the “peaceful pill”, so that Steve take his own life. He is reluctant.
Steve’s not a bad father, but he’s not a very communicative one. Ditto both his sons. Finding what it will take to get them talking and empathising is what Crunch Time is about. Solid performances by the entire ensemble give some depth to the characters, although their emotions are mainly kept in check. They do not come across as particularly complex.
Crunch Time doesn’t hammer home its points of view – as Steve remarks at one point, ‘he doesn’t want emotion to enter into it’ – but it’s no less enjoyable for that. Gently paced under Mark Kilmurry’s direction, it’s hardly a spoiler to say it gets to its logical and sad, but successful conclusion. Later, in the same homely lounge room (set and costume design by Lauren Peters; lighting design by Nicholas Higgins), the quietly brave Helen gives her take on her life with Steve.
It’s hard to believe that our most well-known, best loved and most prolific playwright is finally putting down his pen, and fitting that Crunch Time opened at The Ensemble, where 24 of Williamson’s 57 plays have been staged since Emerald City in 1995. There was certainly emotion on display in the theatre. Hard to miss this final act, a fitting swan song. Tickets are selling fast.
Until 9 April
