Rachael HeadThe Dark Room (Best New Australian Work, Sydney Theatre Awards) concerns itself with the mistreatment of the young and the vulnerable, and the failures of corrupt governing bodies to deal with said mistreatment. The play, written by Angela Betzien, has two story lines running concurrently; the social worker and her deeply disturbed ward, and a policeman arguing with his pregnant wife.
The former storyline is introduced first, and is easily the most emotionally distressing to witness. Annabel Smith plays Grace, the abused girl lost in a system unable to help her. Her suffering social worker Anni (Katy Brittain) attempts to cajole and comfort Grace to no avail. Instead, their exchange is uncomfortable, unbalanced and full of unpleasant visceral imagery. Grace is on the outside, helpless in youth and grown rabid with neglect.
The other storyline, which ties loosely through some scattered dialogue between Anni and the policeman, is told from the inside of injustice. Tamlyn Henderson is Stephen; a man coming to terms with being the unwilling accomplice to his boss’s heinous abuse of power. A man who is also desperately trying to keep his unhappy marriage together.
It’s a piece of writing which doesn’t quite manage to bind the stories, the only narrative which feels fleshed out is between Grace and Anni, the pissed cop/pregnant wife (carried off well by Fiona Skinner) narrative feels only partially completed, as though time constraints have led to prioritising other things.
What’s clear though, is that this is an important story about passive and active responsibility. Grace was failed by a faceless system of adults, so how much responsibility does Anni have to make any real difference to her life? This is a question facing Anni throughout her interactions with Grace, and a question that is to tragically haunt her for the rest of her life.
Stephen covers up an atrocity committed by his superior, and is struggling with his passive compliance in everything he says. He attacks and retracts, criticising his co-workers and defending them repeatedly. Totally unable to admit aloud what he subconsciously knows; that his misplaced obedience led to the death of a child, and a murderer walking free.
The world Betzien is attacking is clear; corruption and social injustice in the very authorities meant to protect us. Betzien creates a tense psychologically draining atmosphere, and I was deeply affected by the monstrosities the characters are struggling with, simply because they were so recognisable. Stories of failure and abuse exactly like Grace’s are heard every day on the news, or seen in quippy newspaper headlines. The Dark Room brings headlines to life and humanises the victims and perpetrators alike in a shocking and upsetting way inaccessible to news reporters or journalists.
The Dark Room is playing Theatre503 until 2nd December. For more information and tickets, see www.theatre503.com/whats-on/the-dark-room