THEATRE: CONCUSSION

It is very difficult to say a harsh word about Sydney Theatre Company right now. Their latest effort, together with Griffin Theatre Company, is Ross Mueller’s Concussion: pure linguistic genius transferred brilliantly to the stage by Brett Adam. It is hilarious, racy, contemporary, honest and completely self-aware.

Caesar, a policeman, wakes after an assault without any clear memories of the incident or his past. In the midst of a chaotic universe, where underage sex and uncensored blogging run rife, Caesar must uncover the mystery of his past and decide how to enter his future.

Mueller and Adam are long-time collaborators and, watching from the audience, the staging of this work feels effortless. All characters are given an equal voice and sensitive, if not always empathetic, consideration. The ensemble cast unanimously deliver precisely styled performances with just the right degree of depth, and the rapport between cast members is tangible.

Costumes and set are also concisely constructed, nothing superfluous. The only potential weakness of the production is the musical transitions, but well-choreographed movement executed with the right level of belief makes these almost a high point. Concussion is young Australian theatre at its best: sharp, relevant and unmissable.

Until 4 April. Wharf 2, Hickson Road, Walsh Bay. Tickets: $25-$45, (‘Monday Rush’ tickets unsold one hour prior to performance available at $15), 9250 1777 or www.sydneytheatre.com.au/next-stage