Image: The Events photographed by Jamie Williams.
A large group of people mingle on stage with an urn, a piano and a stack of chairs. As we settle into our seats, a voice rings out, ‘thanks for coming everyone’. The large assembled group on stage then take their positions and begin to sing – gloriously. Thus opens The Events (directed by Clare Watson).
Written by David Grieg, The Events is a heartbreaking story about a grotesque act of violence perpetrated on a large group of innocents and for the survivor, Claire, a journey of redemption and survivor guilt as she tries to come to grips with what has happened. When a gun-toting teenager – consumed by thoughts of cultural purity – targets Claire’s choir, ​she becomes obsessed with trying to understand him and his actions. Could he have been stopped? ​Inspired by the infamous crimes of Anders Brevik in Norway in 2011, The Events premiered in 2013 at the Edinburgh Fringe.
This production has been enjoying a successful season at Sydney’s Belvoir (following a brief Sydney Festival season and a subsequent season at Adelaide Festival), with Melbourne being the final stop. It’s a tight and affecting production. The choir (of which there is a different one every night) is the glue that binds the production together. Each time a victim of the shooting is mentioned, you can pick out a face in the choir (there is Mrs Singh who hid in the cupboard). It’s easy to imagine these everyday people being picked off and heightens the effectiveness in moving the audience. There is a scene, somewhat amusing as a microphone is passed around in a Q and A like scenario where members of the choir ask the perpetrator questions about the WHY? He fires back nonchalantly justifying the unjustifiable. The choir sings several times during show each time with the last of the pieces the most moving, repeating the same poignant line over and over.
At its heart the main character is searching for the answer of why such an event has occurred to her, her choir, her part of the world. Catherine McClements is outstanding as Claire, the tortured survivor who has lost everything after the event: her partner, her choir and as she says, her soul. As she tries to pick up the pieces and find solace she meet with a range of characters: the father of the shooter, a journalist, and a right wing party member (all played by Johnny Carr). She comes no closer to forgiveness until finally she meets with the shooter. Carr’s repertoire is stretched (as well as his believability) playing all these roles including Claire’s female partner.
McClements was easily the standout of the two performers, walking the tightrope of vulnerability, grief, grit and determination. McClements has a truthfulness and ease on stage, which belies her tough exterior. It’s hard to take your eyes off her. Carr however was diminished by comparison. He has a lot to contend with shifting between so many characters, it was a difficult journey, but one that I expect is also a failure of the writing. But there are moments of black humour which work well, in particular The Boy’s reflection on the absurdity of the massacre. Special mention should also go to Musical Director Luke Byrne who is working with so many different choirs.
Given the recent mass-shooting event in Orlando the play took on an extra layer poignancy. It raises more questions not only about the senselessness of such an act, but of those left behind, changed forever. How can anyone possibly move on until there is also the political will to act?
Rating: 3.5 stars out of 5
The Events
A Malthouse Theatre co-production with Belvoir and State Theatre Company of South Australia
Written by David Greig
Direction: Clare Watson
Set & Lighting Designer: Geoff Cobham
Musical Director: Luke Byrne
Composer: John Browne
Stage Manager: Natalie Moir
Assistant Stage Manager: Amber Bock
Cast includes Johnny Carr and Catherine McClements
Malthouse Theatre, Southbank
21 June – 10 July 2016​
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