Literature, history and inappropriate dealings between a teacher and student are at the core of this incendiary drama, which plays out over two decades. We begin in country Victoria in 2007, where Damon (Dion Mills) is an inspirational English teacher. He changed Chris’ (Will Lonsdale) life when he taught him. Now, Chris’ career path is set to follow his. Chris, 19, is now a rowing coach at the school and decides to travel and pursue further studies to become a writer.
Damon’s fellow teacher and friend Olena (Olga Makeeva), a Russian immigrant, enjoys good conversation and banter with Damon. The pair has an easy going and natural relationship. They get into character playing make believe games. They listen to music and debate societal differences between Russia and Australia. While Damon was Chris’ mentor, Chris has now become a friend. Both are gay. Unexpectedly, Chris drops a bombshell that will forever change the dynamic between Chris, Damon and Olena, one from which there is no return.
Unfolding in three parts, each a decade apart, Angus Cameron’s searing script was developed through Red Stitch’s INK program that cultivates new Australian work. It is a dark examination of truth and regret, in which shock twists cause one to question all that has come before. What is real and what is imagined? What is open to interpretation? Is truth absolute?
All three performances are strong, with a lot of verbiage to carry in this 90-minute play without interval, which is intense and unrelenting. Dion Mills inhabits his role as the English teacher who bemoans the fact that the current generation is too sensitive. He is believable, spirited and adept at mounting a compelling argument. Olga Makeeva brings lived experience in two vastly different cultures to the fore. Will Lonsdale has the enthusiasm of youth and moral indignation on his side.
I applaud the unexpected turns in the plotting, which undoubtedly enrich the experience. There is also no questioning the intellectual rigour that comes with it. Still, I felt the opening was overly stretched and tested patience. That is when Damon and Olena reenact the fall of the Romanov empire, the revolution and politics, which could readily have been cut back. The truth is that it is only after Chris arrives and raises the intentions of 17-year-old student Luke (who we never meet) that the play becomes more engaging.
Most impressive is the set design by set and costume designer Nathan Burmeister, in which four triangular tall pillars take on different character when turned. I found that not only clever, but evocative. There is also a redolent quality to the sound and lighting design by Ethan Hunter and Niklas Pajanti respectively. Director Iain Sinclair has certainly given us food for thought in weaving a circuitous path on a shifting surface. Luke is at its best when the noose is pulled tightly around the respective characters’ necks and the tension is apparent. While potent, the work remains somewhat too talk heavy. It is not that I didn’t appreciate it. I did, but I felt some prudent pruning would not have gone astray. In fact, it would have made the story even more impactful.
Luke is on at Red Stitch Actors’ Theatre until 11th October, 2026.
Alex First
Other reviews you might enjoy:
- The Doll Trilogy, at Red Stitch Actors’ Theatre – theatre review
- Super (Red Stitch Actors’ Theatre) – theatre review
- Anna X, at Red Stitch Actors’ Theatre – 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.