Set in a fragile, post-apartheid South Africa, Solomon and Marion strives to present a story about forgiveness and reconciliation. Crippled by her son’s death seven years ago, the aging Marion (Gillian Jones) spends her days alone, drinking tea and writing letters to her daughter in Australia. Solomon (Pacharo Mzembe) has lingered outside her home for days, until finally he faces with Marion with the truth about her son’s death.
Initially entitled Reach, Lara Foot’s Solomon and Marion is based on the senseless death of young actor Brett Goldin in Cape Town in 2006. The playwright seeks to address the aftermath of violence, while presenting a tale about race, friendship and hope; and despite its apparent heavy-handedness, the drama offers some delightful quips as Marion groans, ‘Could you imagine? Dying in Australia?’ Such tongue-in-cheek remarks are warmly welcomed by the audience; unfortunately, the script does not offer much of anything else.
Foot’s sterile writing is forcibly restrained, unable to break new ground. The patrician tone results in rather tedious dialogue and most of the exchanges between the two leads are fairly stale. The plot moves at a glacial pace, taking a long time to reach its climax, and when it arrives, the big reveal is a dissatisfying sequence that evokes little sympathy from the audience.
Solomon and Marion’s all-embracing optimism is a worthy concept, but at the same time, it hinders the play from properly developing its complex themes and moral ambiguities. The script strives to present a fine portrayal of a forgiving humanity, but its unadventurous nature prohibits it from fully fleshing this out.
Conversely, Pamela Rabe’s direction displays deep thought into the characterisation of both protagonists. The tension between the two leads is presented as a battle of domain space, which attempts to provide some meaning behind the banal action of the play. The cast give solid performances: Jones excels in balancing both vulnerability and resoluteness, while Mzembe convincingly tackles a South African accent to play the spirited and endearing Solomon.
The derelict domestic stage set designed by Richard Roberts is remarkably insightful in its reflection of Marion’s tumultuous life. Overturned, misplaced furniture is scattered across the sand-filled stage, evoking a grimy, unsettling atmosphere. Lighting designer Rachel Burke also does extraordinary work. In particular, the use of dark shadows cast against the whitewashed walls helps gently enunciate the play’s heavy themes. From the hazy, fluorescent glow of South African mornings to the moody ambience of chilly evenings, the stunning use of lighting further draws the audience into the drama.
Despite the play enlisting an immensely talented cast and crew, their efforts are hindered by Solomon and Marion’s bland, conservative nature. Foot’s feeble writing struggles to hold the performance together, resulting in a disappointing piece of theatre.
Rating: 2 stars out of 5
Melbourne Theatre Company present
Solomon and Marion
By Lara Foot
Director: Pamela Rabe
Set and Costume Designer: Richard Roberts
Lighting Designer: Rachel Burke
Composer and Sound Designer: David Bridie
Cast: Gillian Jacobs and Pacharo Mzembe
Fairfax Studio, Arts Centre Melbourne
7 June – 20 July
