Written by Lewis Treston, Directed by Dean Bryant
Sydney Theatre Company
3 Feb, 2023
Absolutely loved Hubris & Humiliation. This show is an absolute must see, playing through 4 March at the Sydney Theatre Company’s wharf theatre.
It’s incredibly hard to describe the production, because every element was brilliant in its own right—the enchanting cast, the sharp writing, the clever direction, and the gorgeous set, music, lightning and consume design—but together, the amalgamation surpassed the typical calibre of theatre we see. This was transcendent. Resplendent. And very, very gay.
It is a challenge to take a story like Pride & Prejudice, which we all know*, and somehow still offer surprises. Author Lewis Tristan took that challenge, and slapped it across the face with a bejeweled satin glove. The dialogue perfectly mirrored the Regency era’s obsession with wealth through marriage, status, and manners in a contemporary (and very woke) Sydney.
*I’ve never read nor watched Pride & Prejudice, but between Bridget Jones Diary and Fire Island, I get the general idea.
I’d be keen to buy a copy of the text, if only to fondly recollect the zingers perfectly pitched by Celia Ireland and Henrietta Enyonam Amevor. I felt the Australia that I have come to know and love reflected in the world of this play, and especially the queer community in Sydney.
I credit Dean Bryant’s direction of this piece for seamlessly unfurling the talent of the cast and creatives alike. I won’t spoil the surprises, but Dean managed to continually delight the audience with unexpected (yet perfectly executed) elements, and infusing music and dance throughout.
Even before the cast has had a chance to charm you, the gorgeous set will snare your attention. Hideaways, sliding panels, and movable set pieces transform the oppressive regency backdrop into all manor of locales in Sydney and beyond.
Finally, the superb cast. Roman Delo leads as Elliot, whose adorable and quirky mannerisms quickly endear us to him. He highlights both masc and fem qualities of Elliot, and elevates the character out of stereotype to a more complex figure (which is remarkable, as his entire journey is to land a wealthy gay husband).
Ryan Panizza alternates between screeching social-climber Warren and lascivious William. Panizza absolutely nails both roles, and the chemistry between he and Delo is electric. Director Dean Bryant clearly knows his audience, as both Panizza and Delo grace the audience with their powerful physiques.
Celia Ireland, as expected, steals the show (or at least, comes close – the immensely talented cast doesn’t let focus stray for long). Her portrayal of Delaney matriarch Bernice is simultaneously absurd and believable.
The rest of the cast easily meets this high calibre:
- Andrew McFarlane’s Roland combines Ian McKellan’s campest notions with Sydney “Daddy rich” opulence;
- Melissa Kahraman’s Paige gives ‘main character’ energy and had the audience in stitches;
- Henrietta Enyonam Amevor lit up the stage whenever she was on (as sassy Chantel, or eccentric Juki, the latter being one of my favourite sequences on stage possible ever).
- Mathew Cooper equally entertained and inadvertently steamed up the stage in the character of Brendan. I won’t say more, but…whew!
It’s not often I laugh this hard at a production, but between laughs, the production had an incredible amount of heart to it as well. My only complain? The digital program is great for sustainability, but I miss having a memento of a show that gave me giggle fits.
Hubris & Humility is playing now through 4 March at Sydney Theatre Company.