Fury (Red Stitch Actors Theatre)

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Fiona Gruber Friday, 08 June 2018
Published in ABR Arts

In Joanna Murray-Smith’s play Fury, a successful couple with a teenaged son are visited one evening by the deputy headmaster of his private school. Joe, he informs them, is in trouble. At first Alice (Danielle Carter) and Patrick (Joe Petruzzi) cannot countenance that their darling Joe has done anything wrong. He is gentle and sensitive and plays the cello, and, as would be expected of the son of a neuroscientist and a novelist, highly intelligent. When they discover what the crime is, they are utterly flummoxed; Joe (played with pale intensity by Sean Rees-Wemyss) and his friend Ethan have defaced the local mosque and broken some of its windows. This serves like a stone thrown into a pond; the ripples continue to spread, affecting the lives of the boys, the school, but it seems, most of all, the parents.

We are in familiar Murray-Smith territory, a satirical and often savage look at the morals and values of the middle class. Her middle class is Melbourne’s lefty intelligentsia, but it could easily be the equivalent in Birmingham or Baltimore. Wherever they are, they’re going to have their humanistic, liberal ideals winded and wounded by a big fat illiberal punch to the guts.

Alice and Patrick, fleshed out in an over-dense opening scene, seem immediately familiar; maybe it’s a mirror being held up to the audience. Maybe we know these characters from a hundred other similar scenarios. They are self-congratulatory yet critical of each other, absorbed in their own successes. Alice retains a feminist fury that her brilliance has taken twenty-five years to be acknowledged by the patriarchy, while easy-going but uneasy Patrick courts complacency as a refuge. He proclaims: ‘The great thing about being our age is that we don’t need to change our minds about anything … The whole point of middle age is being an apology-free zone. So long as you’re bombastic about it, people will admire you for it.’ Ding dong, there goes the door bell. That delusion is immediately punctured, as we knew it would be.

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Published in ABR Arts
Fiona Gruber

Fiona Gruber

Fiona Gruber is a journalist and producer with twenty years experience writing and broadcasting across the arts as a commentator, profile writer, and reviewer. She currently divides her time between Australia and the UK.

Gruber's work has appeared in The Australian, The Times Literary Supplement, Australian Book Review, The Guardian, The Age, Sydney Morning Herald, Opera Now, History Today, and Art World Australia.

Her profiles of well-known writers and playwrights include John Banville, Margaret Drabble, Simon Callow, Marina Warner, A. L. Kennedy, Francis Wheen, Michelle de Kretser, Toni Jordan, David Francis, Jane Smiley, Angus Trumble, Chris Womersley, David Harrower, Richard Bean, Jez Butterworth, and Moisés Kaufman.

For ABC Radio National alongside sporadic appearances as an opinionated commentator on hot topics, Gruber has made a series of features on writers, artists, theatre makers, and explorers for The Book Show, Books and Arts Daily and Hindsight. These include artists John Wolseley and Vera Möller, writers Robert Macfarlane, Patricia Cornelius, Charlotte Wood, Francis Wheen and Alex Miller, actor Lisa Dwan, and explorer John Helder Wedge.

Gruber also worked for ABC TV as a researcher and producer on its Sunday Arts program.

She produced and hosted The Opening a live-to-air weekly radio arts show on PBSFM between 2003–10, notable for its mix of the very local with the rather famous. And in 2011 she was a regular on ABC 774 talking arts with veteran presenter Derek Guille.

Gruber received a Green Room Award in 2005 for co-founding and hosting ‘Gert's Sunday Salon’, a raffish arts and cabaret club in Melbourne’s Fitzroy.

In 2013 Fiona Gruber started a series of podcasts for the Melbourne Theatre Company which explore ideas around the plays on stage, the wider world of theatre, and the even wider world influencing stage selection.

Alongside her journalism she's currently finishing off a biography of nineteenth-century Australian entrepreneur Alice Cornwell: Victorian gold miner, proprietor of the London Sunday Times, and breeder of miniature black pug dogs.

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