'Mouthpiece' packs a punch.
The audience sat in the darkness for a beat, after the play was over, in absolute silence. Then the first claps sounded, before the actors returned to the stage for their first of many bows. Before the house lights came up, the entire audience was on its feet, giving the production a rousing standing ovation. What a way to welcome Brisbane back to QPAC theatre after the 2020 COVID hiatus. Tell all your friends, the Playhouse is back.
'Mouthpiece' tells the story of an improbable friendship between a middle-class playwright, whose early talent has leaked away, and a young man – not quite 18 – who will never have the opportunities that she has seemingly squandered. Originally a Scottish work, Queensland Theatre has adapted it to reflect our accent, our divisions, and our city. As a first play back, the ‘making it our own’ approach works wonders, as we recognised ourselves in not only the landmarks of the set ('the cliffs' – I assume is Kangaroo Point, for example) but also our own slight prejudices. There is an Ascot v Logan joke, for example, that made us middle-class-theatre-going folk cringe, some things cut pretty close to home.
Image © Stephen Henry
As a work of theatre about theatre and the people who attend the theatre, there were quite a few meta moments – again, I cringe writing that as meta is a bit of a script punchline (I’m such a theatre cliché!). The script is great, and the Brisbanisation really, really works – kudos to dialect translator Phil Spencer. But that is just one aspect of what makes this production so successful. The costuming is on point, and the light design is perfect. From the projection of key words, to the surprise lights up towards the end, that both invites audience participation and confuses them, Ben Hughes’ choices were simple, but spot on.
In terms of casting, the consummate Christen O’Leary as screenwriter Libby was as perfectly cast as ever, with an effortless performance that made even the most uncomfortable scenes convincing and engrossing. However, Jayden Popik as Declan was the breakout star. We’ve all met Declan, maybe we’ve been intimidated by him, or avoided him after midnight in the Valley. Maybe we’ve ignored him or written off his point of view, especially in this increasingly polarised time where the perhaps more educated left look down on those who have different views, declaring them ignorant without bothering to understand their perspectives better. When Declan proclaims he actually understands multi-syllable words when Libby condescends to him, it again hits home. His artistic talent and love of his sister was a way for the play to humanise him and give him 'worth', but it would be interesting too if a play didn’t give a marginalised character a slice of genius which redeems them to the educated classes – what if they were valuable for just being them? But I digress.
Image © Stephen Henry
The blurb on 'Mouthpiece' describes it as examining who has the right to tell Declan’s story – is Libby stealing it, or being inspired by it, as per her role as a writer? But I disagree. To me it was more about Libby’s – and the world’s – betrayal not of Declan’s story, but of his personhood, and his trust in, and love for, her.
At the end of the play – and what a tremendous, powerful ending it is – Queensland Theatre Artistic Director and 'Mouthpiece' Director Lee Lewis spoke to the audience. She thanked us for turning up, and for coming home to a theatre that had missed audiences so much this year. She implored us to tell our friends about 'Mouthpiece', and to encourage them along. So here goes: Go and see 'Mouthpiece', and see your city in a different light. Be shocked and awed (but don’t see it with little kids!), be inspired, and support our arts sector. You absolutely won’t regret it, this is the best play I’ve seen in a decade.
★★★★★
