The Beast

Making his playwriting debut on the main stage of the Melbourne Theatre Company, the multi-talented Eddie Perfect has crafted an energetic and biting satirical farce that is frequently hilarious, though ultimately, it has more bark than bite.

The Beast focuses its attention on the modern ‘tree-change’ movement; the trend of upwardly mobile, comfortably middle-class urbanites moving to rural areas to live a more ‘sustainable’ life. Perfect’s scathing comedy deconstructs these character types, exposing their bullshitting ways, while also examining wider themes: the machinations of friendship groups, and personal responsibility.

Perfect’s plot revolves around a fateful boating accident and a dinner party in ‘The Valley’ where the guests have planned a degustation menu using all parts of an ethically raised cow, though their plans begin to go awry when the butcher booked for the occasion fails to show.

From the opening scene aboard the aforementioned boat the show blasts off at a breakneck pace and rarely takes the foot off the accelerator. Perfect’s dialogue is assured, snappy and witty. There are many pop culture references and some corker one-liners (a particular favourite being ‘You look like Tom Selleck’s dick!’) and the cast clearly have a ball wrapping their tongues around the expletive-laden script.

Unfortunately, the plot runs out of steam around three-quarters of the way through the play’s overlong two-and-a-half hour running time. Once the main scenario has been established the narrative doesn’t really go anywhere. The central dinner party scene which opens the second act features a rapidly unfolding series of revelations, seemingly intended to shock the audience and up the stakes. However, these moments seem forced, and consequently lack the requisite power to be truly startling. Perfect is clearly trying to highlight the blackness of the comedy on display but somehow it doesn’t entirely work.

Director Iain Sinclair has assembled a fantastic cast, many of whom are making their MTC debut. This entertaining ensemble creates a heightened gallery of contemporary, over the top grotesques. Virgina Gray and Tom Budge play the latest couple to move into The Valley, Sue and Rob, with great comic timing and chemistry. Budge is the most sympathetic of all the characters and his manic energy and flailing limbs are one of the highlights of The Beast.

The second of the couples, Gen (Sheridan Harbridge) and Simon (Hamish Michael) represent the toxicity that can come from infidelity and condescension within a relationship. Michael plays the pretentious arsehole Simon with smarmy relish and Harbridge’s Gen is a dynamic combination of unhinged slapstick and repressed anger.

The odd couple out in this circle of friends is Marge (Kate Mulvany) and Baird (Travis Cotton). These two come across as much more down to earth than the rest of the characters, and their simple declaration of love toward the end of the show is touching. Mulvany plays Marge with brutal comedic honesty and she delivers her punchy dialogue with aplomb.

For a play that mostly takes place within two houses, The Beast has an oddly elaborate stage design by Luke Ede. The opening scene features a highly detailed representation of the prow of a boat, complete with mechanical rocking motions; and later in the piece a large truck backs onto the stage of the Sumner, and is soon joined by a fully functional forklift (these final two set pieces are on stage for a total of two minutes).

The violent conclusion to act one, featuring a puppet clearly designed to reference the horses of War Horse, is a marvelous piece of theatrical staging, and once the blood starts flowing the result is both confronting and side-splitting. The Beast relies heavily on numerous elements of staging and props working at exactly the right time to achieve the desired comical payoff, and the production team should be congratulated for making it all work so successfully.

After two plus hours of high octane energy, The Beast concludes in a strangely downbeat way; a final tableau which reminded this reviewer of the last episode of Seinfeld, where Jerry and company are locked up together, still chatting about nothing. The reference seems apt, for Perfect’s play ultimately comes across like a television sitcom, albeit an unconventional one.

The Beast should find a wide audience; it’s frequently hilarious, contains some cracking dialogue, and shines a critical spotlight on contemporary societal trends. It will be interesting to see who Perfect’s unforgiving razor sharp eye will focus on next – you have been warned!

Rating: 3 stars out of 5