‘The Elocution Of Benjamin Franklin’: A Tense, Tragicomic One-Man Tour de Force

A one-man masterclass of madness, The Elocution of Benjamin Franklin is a taut, mesmerising, and darkly comic exploration of societal pressure and persecution. 

Griffith Theatre Company‘s production, directed by Declan Greene, honours the 50-year legacy of Steve J. Spears’ original work while feeling urgent and contemporary.

Simon Burke AO inhabits Robert O’Brien, a conflicted elocution teacher whose public life is polished and restrained, while his private desires—transvestism and fantasy—spiral into paranoia when a young prodigy, Benjamin Franklin, enters his orbit.

O’Brien’s double life is palpable: from a striking striptease and intimate fantasy involving Mick Jagger to the strict, almost performative elocutionist in front of his students and Double Bay neighbours.

Burke conveys both flamboyance and fear, making every gesture, glance, and muttered aside feel loaded.

Narratively, the play is a masterclass in tension. We follow O’Brien’s increasing terror of being exposed and the complicated dynamics of Benjamin’s innocent but intense crush. 

The stakes escalate methodically, culminating in O’Brien’s emotional collapse and institutionalization. While the story may feel linear, it remains compelling because of the character study at its core—a man trapped by his desires, societal judgment, and his own imagination.

Burke’s performance is extraordinary. He makes the room feel alive with other characters, from students to his stockbroker friend Bruce, all conjured through his voice, movement, and timing.

Physicality is key here. His portrayal of O’Brien’s nervous ticks, boisterous postures, and shifts between fantasy and reality creates an immersive experience that few one-man shows achieve.

Technically, the production is immersive and symbolic. The set, O’Brien’s room with a chair, piano, Shakespeare bust, portraits, rotary phone, and a rifle, acts as an extension of his psyche.

Lighting, at times saturated and theatrical, underscores his private desires and escalating anxiety. Props appear almost magically, and scene transitions, while sometimes abrupt, maintain rhythm and fluidity, pulling the audience further into O’Brien’s perspective.

‘The Elocution of Benjamin Franklin’ is a perfect watch for audiences who appreciate intense one-man performances, psychological complexity, and classic Australian theatre with queer subtext. Its mix of humour, tragedy, and performative flair ensures that even after 50 years, Spears’ work shocks, entertains, and unsettles.

The Elocution of Benjamin Franklin is playing till 29 March at the Belvoir St Theatre.