The deterioration, decline and ultimate death of a parent is a deeply traumatic process, one that we would never wish to confront, and yet it is an experience that changes the way we evaluate our own lives.
It was during such a difficult time that John Doyle decided to write his latest play, VERE (FAITH). The idea, Doyle says, came in two parts. “Firstly, by chance, coming across the house in Wentworth Falls in the Blue Mountains where Vere Gordon Childe lived and becoming interested in his extraordinary career. And secondly, caring for my father while dementia consumed him.”
These two ideas merge perfectly to create a play that is both very funny and very sad. Vere was a brilliant scholar of archaeology and philosophy who moved from Sydney University to Oxford University in 1914, later working as Abercromby Professor of Archaeology at the University of Edinburgh from 1927-1946. At age 65, in 1957, he decided his ideas were no longer relevant and threw himself off the cliff in the Blue Mountains at the spot where Darwin had contemplated his theories.
It is Vere, working as Professor in a University, who is told at the onset of the play,that he has an aggressive dementia, and he knows he must leave his colleagues. It is a jovial Christmas farewell, with raunchy Vice-Chancellor Ralph and academic team, where Vere begins to offload his favourite possessions to his bright young student, Gina. He only tells colleague, Kate, of his impending departure and insists she take over his department.
All seven actors appear in the second act, very cleverly transposed as Vere’s family and soon-to-be in-laws. They are having an engagement dinner for Vere’s grandson and Vere is in the later stages of dementia, with both embarrassing moments and touching moments of lucidity. What ensues is a clever mix of humour and opposing philosophies between science and religion.
The fine direction by Sarah Goodes brings out relaxed and fluid staging which enhances the fine one-liners in the script. She has also embellished the humour which is essential to such a story.
The acting is superb. Paul Blackwell as Vere gives an inspired and touching performance. Geoff Morrell has wonderful comic timing as ladies’ man Ralph and conservative man of cloth, Roger. Rebecca Massey gives wonderful contrasting characterisations as Kate and the Vicar’s bumbling wife. Matilda Bailey, Ksenja Logos, Yalin Ozucelik and Matthew Gregan bring dynamic energy to each of their characters.
Pip Runciman’s set is adaptable and clever, as is lighting by Nigel Levings, costumes by Renee Mulder and music/sound by Steve Francis.
VERE is a stimulating and invigorating play, one that questions our belief systems, mortality and quality of life. For theatre-goers, like myself, who have lost a parent to dementia, it is also a touching and emotional journey.
VERE is playing at the Drama Theatre, Sydney Opera House until December 7th.