Aria
Writer: David Williamson
Director: Janine Watson
Ensemble Theatre, Kirribilli
January 24 – March 15, 2025
David Williamson’s latest play casts a philosophical look at contemporary Australian society, particularly the big-city obsessions of wealth, property and social standing. The struggles of his aspirational characters to keep their heads above the social water evokes both a dismaying sympathy and some darkly comedic humour – it’s vintage Williamson.
Elegant 60s-something Monique (Tracy Mann) awaits the arrival of her three adored sons and less adored daughters-in-law. This is the annual family meet-up to celebrate the birthdays of her sons, Liam (Jack Starkey-Gill), Daniel (Sam O’Sullivan) and Charlie (Rowan Davie). These gatherings are not without ulterior motives for the self-centred, narcissistic Monique, who still revels in exercising her matriarchal power – they are a yearly inventory of her sons’ achievements and a query into the state of their marriages. But most importantly, the family provides a captive audience for her to sing to, for Monique labours under a lingering delusion that she could have been a star at La Scala, the Met and Covent Garden, had motherhood and domesticity not intervened.
The family members drift between the off-stage Garden and the Piano Room on the mainstage. This arrangement breaks the party up into groups where they either voice complaints against each other (the brothers) or commiserate (the wives). What becomes obvious is that there is discontent in the marriages, to the extent where divorce may be in the air. This state is not helped by Monique trying to manipulate matters to her advantage: she dismisses Midge (Tamara Lee Bailey), Charlie’s wife, for having a frivolous occupation and berates Chrissy (Suzannah McDonald), Liam’s wife, for not lunching with her. She holds an especial grudge against the lawyer, Judy (Danielle King), Daniel’s highly paid wife, for intending to remove their daughter from a prestigious private school because of a callous internet prank.
The wives in turn commiserate with each other over matters that are causing serious disruptions in their marriages: Midge complains of his reluctance to have children; Chrissy is teetering on the brink of a nervous breakdown caused by four uncontrollable children and Judy is incensed by Monique’s interference in her daughter’s education.
But Monique’s house of cards is about to crumble – when the time for her performance of the difficult Queen of the Night aria arrives, all of them are cauldrons of simmering resentment. Daniel accompanies her on piano as she does a shaky, uncertain rendition of the aria, followed immediately by the sad news that Daniel’s marriage “has run its course”. This is news to Judy who has a blazing row with both Monique and Daniel, before storming off home.
Monique’s fragile ego seeks validation of her performance from the remaining sons, but they too have sensibly seen through her behaviour and depart with their wives, having promised the women they will try to be more supportive in future.
As all the family make their escape, Monique pleads with her sons not to forget her, noting with some chagrin, that she may have missed out on being an opera star but she “still has her boys”.
As our rainy, unpredictable summer continues, paying a visit to the Ensemble and immersing yourself in this latest masterpiece from Australia’s foremost playwright is a very good idea – you won’t regret it!
