Good People, by David Lindsay-Abaire was first performed in 2013 for the Manhattan Theatre Club, at the Samuel J. Friedman Theatre, on Broadway, New York and was awarded the New York Drama Critics Circle Award for Best Play, The Horton Foote Prize, The Edgerton Foundation New American Play Award, and two Tony nominations. It follows on from his previous play Rabbit Hole, which among other prizes won the Pulitzer Prize. Good People sustains the quality of writing exhibited in his other work and is given a very good production at the Ensemble Theatre, for Sydney audiences, under the controlled direction of Mark Kilmurry.
“Mar-Gee” being a Good Person, too, though not accepting the truth of a cancellation of a party at Chesnut Hill, makes an inconvenient visit to the home of Mike and meets his wife, Kate, (Zindzi Okenyo), an African-American academic. The unconscious jealousies and frustrations of “Mar-Gee’s” life opportunities boil over in an interaction with this fragile couple, who are coping with a sick child and, perhaps, a delicate marriage, and consciously reveals secrets and, maybe, lies, that may destroy the fabric of this ‘lace-curtain Irish’ Mike’s life.
The dilemma of the play is the question of the level of consciousness in ‘Mar-Gee’s’ and her friends’ verbal and physical actions. The play examines what means of survival are available for a class who have next to nothing and are searching for the way to that promised American Dream, and who are struggling, as the Willy Loman family did several generations before, and by necessity have to shift loyalties and make behavioural choices with cunning agility to sustain their unshakeable hopes for that promised, better future. There are definitely times in this play, when “Mar-Gee” and her circle are reprehensible and the last people you want to know and or engage with. We are certainly challenged about our own lives, with the wily writing of Mr Lindsay-Abaire: Can we honestly, ‘judge’ these good people?
Says Mr Lindsay-Abaire, in interview:
We have this myth that if you work hard, you can accomplish anything. It’s not a very American thing to say, but I don’t think that’s true. It’s true for a lot of people, but you need other things to succeed. You need luck, you need opportunity, and you need the life skills to recognise what an opportunity is.
Mr Stollery and Ms Okenyo (at last in a role on a Sydney stage, that permits this actor to reveal her complexity of gifts), give dextrously excellent performances, and along with Ms Morice – in great form -, blister the production with a thrilling trio-entanglement in the major scene of the second act. The writing is crisp, witty and marvellously observed and structured, giving a thrilling word-by-word experience for an enthralled, and sometimes, to-be-appalled, audience.
The set design by Tobhiyah Stone Feller, is one of the best I have seen in this small space. It has a fluidity and integral, organic, aesthetic that seems to seamlessly move from the location demands, one to the other, of the play, with minimal effort. Ross Graham, reveals his creative gifts, working within a much smaller scale than much of his other good work of late (An Index of Metals), and has created a terrifically empathetic lighting design of atmospheric support.
Good People is really good writing, supported by a really good production, all round. Go.
Good People is playing at the Ensemble Theatre, Kirribilli, Sydney until 21 May 2016, and you can buy tickets here.
Kevin Jackson
For more of Kevin Jackson’s theatre reviews, check out his blog at Kevin Jackson’s Theatre Diary
David Edwards is the editor of The Blurb and a contributor on film and television