Noni Hazlehurst delivers an inspired performance in the slice of life piece Mother. Homeless and shoeless, she plays the character Christie. Christie married Lenny (who we don’t meet) because both were lonely. They had a baby, but Lenny is critical of Christie because she drinks – a lot and frequently. Christie channels their conversations. There is no question that both Christie and Lenny love the baby. Christie frequently speaks about the bub. But then there are the overtures from Lenny to cut out the booze, even though Christie tells us there are times the child is fractious. On occasions that means turning to Mrs Kennedy, who lives two doors down, and is always willing to share part of her moonshine.
Truth be told, now Christie has nothing (even though she never had much). She is treated like a criminal, chased and sworn at. The looks she gets are terrible. She never thought she would feel so worthless. Christie maintains her mother treated her badly and their relationship remains fraught, while her father wasn’t afraid to show her the back of his hand. Mother is Christie’s story … what happened to her – how things went off the rails, how she wakes up each day thinking it may be her last. It is a tale of love, excess, pain and heartbreak. The anguish is palpable. Christie is tough and vulnerable, and Hazlehurst plays her with humour and heart. It is a collaborative work with writer Daniel Keene and director Matt Scholten.
It emerged after Scholten and Hazlehurst worked together on MTC’s The Heretic in 2012. Scholten asked Hazlehurst what she would like to do next and she said she had never done a one-woman play. With that, Scholten approached Keene, whose work he had been directing since 2008. Keene wrote Mother, which is remarkably astute and insightful, specifically for Hazlehurst. It is performed magnificently by one of this country’s finest actors, with consummate direction from Scholten. It is heart on sleeve material. There is no holding back, the tale of woe unfolding from Christie’s perspective. In that guise, Hazlehurst yearns and lashes out. The picture she paints is far from pretty.
I would have been intrigued to have heard what Lenny had to say about what transpires. I express these thoughts notwithstanding Christie’s verbatim recitation of some of their conversations. Also entering the fray is Lenny’s hard-nosed, God-fearing sister, who Christie has no time for. Mother is about survival, shame and judgment. It is about harsh reality. It is acerbic. Dark humour is prevalent amongst the drama and pathos. Critical to what unfolds are the atmospherics, deftly crafted through the set, props, costuming, lighting and sound design. Dried leaves and feathers are strewn all over the stage, complete with a thin, torn, dirty, old mattress positioned atop plastic milk crates. A fridge lies on its side, cardboard boxes, papers and a large recycled carry bag are scattered around.
Hazlehurst, looking dirty and dishevelled, wears layers of frayed clothing, giving her a vagabond look. All this is the work of Kat Chan. Bird sounds and street noise are mainstays, the pointed endeavour of sound designer Darius Kedros. Mood lighting from Tom Willis adds a further layer of uncomfortable truth. Mother is exacting and dour and spirited, Noni Hazlehurst triumphant in a bravura showing, giving voice to the fallen and dispossessed. It is on at Fairfax Studio, Arts Centre Melbourne until 21st September, 2024.
Alex First
Other reviews you might enjoy:
- Mother (If Theatre) – Theatre Review
- Mother (Belvoir) – theatre review
- Mother (QPAC) – theatre review
Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
