Kerry Fox is Jenny, a well-travelled woman who on the surface pretty much has it all – a successful career, an apparently happy marriage (to a fellow psychiatrist), and a delightful daughter. But as the play begins, we learn that recently she has been suffering vivid, terrifying dreams (or are they dreams?). After a horrific rape there are convulsions in her world as she has to face the fact that while she spends her life analysing other people’s minds and trying to help them, she can’t confront and banish her own hidden demons. In this complex, multi-layered production we see Jenny’s mental state disintegrate; gripped by hallucinations and delirium, she must make a psychological journey inwards, into an intensely claustrophobic yet epic ‘space’ in order to heal herself. Can she survive?
Upon its original release in 1976, Bergman’s film was regarded as a groundbreaking, subtle and precise examination of a woman undergoing a major crisis. Upton and Stone’s adaptation keeps the psychological textures of the original movie but fashions a very different work. It is a chilling, Surrealist blurring of illusion and reality that attempts to uncover the masks we all wear, even in our most private moments.
The language can be quite strong in this STC adaptation, but also acerbic and witty. The staging is mostly simple and stark, especially in the first half, with just a chair or a lamp or similar to indicate the scene, and Stone’s direction ensures a fluid, cinematic production with elegantly choreographed and efficient scene changes.
Is Jenny, as some people claim, unable to love? Over the course of the play we learn about Jenny’s childhood abuse, her claustrophobia, and her guilt over a cousin’s death. She is haunted by a vision of her grandmother’s face so distorted by anger she can barely recognise it, and does not want to become unrecognizable herself; rather, she wants to be real. Damaged and disturbed herself, can she now fruitfully help others? Or, as is claimed by some, does she vicariously enjoy their suffering? She is a doctor but stubbornly refuses to admit she is sick. As Jenny, Kerry Fox gives a magnificent performance, and her performance of the suicide monologue is particularly brilliant.
There is fine acting from the rest of the ensemble too. Wendy Hughes as the sarcastic, unloving Aunt is excellent. John Gaden as the uncle is superb – dwelling on childhood memories of Jenny, but worried about losing his mind. We mostly see him in pyjamas trying to fix a broken clock – trying to stop time, or turn time back?
Jenny’s rather uncaring, aloof husband Wenkel (who is also her doctor in her delirium), a bearded smoker with glasses, is authoritatively played by Humphrey Bowen. Jessica Nash as Jenny’s daughter, Anna, gradually and reluctantly comes to understand her mother a little better, learning some of her secrets. Can their relationship be mended?
Jenny’s handsome lover, Tomas, stalwart and supportive, is marvellously played by Mitchell Butel. Jenny’s patient, Maria, who opens the show, skittering across the stage in a chair, and who defiantly challenges Jenny’s morals and professionalism, was excellently played by Anna Martin.
As is said in the play, we are all victims of a desperate need for meaning.
Disturbing, powerful and hypnotic, this is a shattering, gripping performance that searingly examines the human psyche.
Rating: 4 stars out of 5
Face to Face
Based on the film by Ingmar Bergman
Adapted for the stage by Andrew Upton and Simon Stone
Director: Simon Stone
Lighting Designer: Nick Schlieper
Costume Designer: Alice Babidge
Composer/Sound Designer: Stefan Gregory
Assistant Designer: David Fleischer
Lighting Associate: Chris Twyman
Voice Consultant: Charmian Gradwell
Dramaturg: Tom Wright
Cast: Humphrey Bower, Mitchell Butel, Kerry Fox, John Gaden, Wendy Hughes, Anna Martin, Jessica Nash, Queenie van de Zant and Dylan Young
Running Time: One hour 50 mins (approx) no interval
Sydney Theatre Company at Sydney Theatre
August 7 – September 8
