Many years ago, in one of my written outlets, I opined that everyone has a story to tell as long as you can prize it out of them. Having witnessed four short plays of differing lengths from award-winning playwright Kevin Nemeth, I am delighted to say he has crafted the insightful from the everyday. He has taken his life experiences and observations, and infused them into characters suffering loss, fear and change of circumstance.
Early Morning sees a husband (Peter Houghton) and wife (Anne Browning) in bed speaking with each other in the third person. The male speaks to the female as “he said this”, “he said that” and “he knows”, and vice versa. It starts with a monologue about hogging the doona and sheet, and he waking her between 4am and 5am. There is an anxiousness about both. She has had a vivid dream and wants to know what it means. Few in his family have lived beyond 65 and he is fearful he has little time left. In fact, he is afraid of all sorts of things. He also regrets what he did to help his father after his dad had a stroke in the shower.
Next up, Crapbox. He (played by Tom Gutteridge), a 64-year-old, lost his beloved wife Julia to cancer 18 months ago. Her death was impossible to prepare for, although she simply got on with things, knowing what was coming. Subsequently, he moved from the city to a country town and into a 70-year-old house that had had a series of renovations, the bathroom of which was mired in the 1960s. There, he couldn’t stop dreaming of Julia … and he was lonely. Beyond that, he quickly discovered that his new home was haunted.
Onto The Letter. A man (the voice of Peter Haughton) reflects upon a letter his mother wrote him many years ago, when she was young, years before illness and dementia took her. It paints her as a woman who at first he doesn’t recognise, one who isn’t afraid of taking a stand. He didn’t have much time for his father, but his mother gave him some sage advice.
In Good Daughter, Linda Bailey (Anne Browning) is awaiting the outcome of a court case. She is charged with aiding and abetting suicide. The person in question is her mother, who prevailed upon her to help. Mother had no friends. Her dementia was only going one way, and she didn’t want to be put into a nursing home. So, even though they weren’t close, Bailey took her in and she did what her mother asked her to do.
I am so impressed by and so drawn to what Kevin Nemeth has brought to us – a window to the realities of human existence. Life isn’t all joy, rainbows and happy endings. In fact, far from it. I am not talking about global issues, but the up close and personal, the trials and tribulations we are all forced to confront at some stage. This is slice of life reality.
Each tale resonates, but it wouldn’t be so without the acting prowess of three excellent performers and the direction that Houghton and Browning bring to bear. There is a naturalism about the actors’ endeavours, which makes what we see appear real. The transitions between stories are seamless. We are made to enter the lives of the characters Nemeth has presented us with and we dare not look away.
The yarns are aided by incisive lighting and sound cues, the creativity of Harrie Hogan and Ethan Hunter respectively. I highly commend the combined works to you for there is no question that they engage with your innermost thoughts, raising issues of coping and morality. Running just a little over an hour, Crapbox is on at Theatre Works’ Explosives Factory until 7th November, 2026.
Alex First
Other reviews you might enjoy:
- The Eternally Hopeful, at Theatre Works’ Explosives Factory – song cycle review
- Now, at Theatre Works’ Explosives Factory – theatre review
- Holy Fool at Theatre Works’ Explosives Factory – theatre review ⭐⭐⭐⭐⭐
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
