Posthumously published in 1995, just a few months after Conigrave’s death from HIV/AIDS, Holding the Man tells the charming, frank and touching story of Conigrave’s relationship with his partner John Caleo, who he met in 1976, while the pair were still in high school. Despite their differences (John was the captain of the school football team; Tim was an aspiring actor) and the challenges posed by conservative parents, infidelity and occasional separation, their love flourished for 15 years, until John’s untimely death from an AIDS-related illness in 1992.
This new production of Holding the Man (originally staged in 2006 by the Griffin Theatre Company, and adapted for the stage by Tommy Murphy) is directed by Rosalba Clemente, a former Artistic Director of the State Theatre Company of South Australia. It stars Luke Clayson as Tim, and Nic English as John. The four remaining cast members (Catherine Fitzgerald, Nick Pelomis, Geoff Revell and Ellen Steele) play multiple roles between them, including various sets of parents, horny schoolboys, Tim’s NIDA colleagues, and the strutting clientele of a gay bar.
Dramatically, Holding the Man is a play of two very distinct halves. The first act plays up the comedy – most notably in a hilarious ‘circle jerk’ scene – but after interval the tragic aspects of the story come to the fore, with a particularly poignant sequence late in the piece utilising a puppet (designed by Stephanie Fisher) to great effect. By the time the curtain fell, there was barely a dry eye in the house.
I was not entirely convinced by Luke Clayson as Tim, who never quite sold the conflicting charm and bluntness of Conigrave, but Nic English as John was superb; quiet, gentle and charming. As a couple, their chemistry was perhaps a little subdued, though both actors gave their all to their respective roles.
Of the supporting cast, Nick Pelomis was particularly memorable in his multiple roles, especially as the surprisingly compassionate mother of Tim’s friend Juliet (Ellen Steele). Catherine Fitzgerald also impressed.
When not part of the action, the actors sat in plain sight at the side of the stage, one of many insightful additions to the already deliberately theatrical script, which, as befits a play about a theatremaker, makes use of numerous stage techniques – mime, improvisational games, puppetry – to tell its story.
Morag Cook’s simple but striking design frames the action under a series of large wooden bookcases to which props are added as the story unfolds – a scrapbook, a wig – mementos of Tim and John’s shared life.
Other elements of the production, such as Mark Shelton’s subtle but focused lighting design and composer Stuart Day’s score, are equally accomplished and never intrusive. Direction in the first half felt a trifle heavy-handed, though the second half proceeded with a lighter touch, ensuring the drama flowed naturally and was never forced.
The book of Holding the Man is already an Australian classic, and I have no doubt that Tommy Murphy’s play will also come to hold such status in 20 years time. This fine production by the State Theatre Company of South Australia, while not quite up to the remarkably high standard set by the original Griffin production, will also, no doubt, be talked about for many years to come.
Rating: Four stars
Holding the Man
By Tommy Murphy
From the book by Timothy Conigrave
Director: Rosalba Clemente
Designer: Morag Cook
Lighting Designer: Mark Shelton
Composer: Stuart Day
Cast: Luke Clayson, Nic English, Catherine Fitzgerald, Nick Pelomis, Geoff Revell and Ellen Steele
Duation: Approximate 135 minutes including interval
Dunstan Playhouse, Adelaide Festival Centre
October 21 – November 13
