Almost ten years since its debut production, Christopher Johnson’s THE YOUNG TYCOONS stands the test of time with a remount at its spiritual home, Darlinghurst Theatre Company, albeit in their new venue, The Eternity Playhouse.

Under the same assured hand of the original director, Michael Pigott, THE YOUNG TYCOONS has even more resonance as the sands of the hourglass have piled myriad pyramids of power and profit for the fledgling facsimile pharaohs fictionalised here.

Two households, both alike in media power, in fair Australia, where the scene is set some time soon after the toppling of twin towers and the trashing and crashing of a towering Telco fiasco. Each house is planning succession, second generation barons conferring their heirs, their sons, to take over the family business.

There’s no heirs with graces for the Vogler dynasty, a fiefdom of feudal rule under blunt, bluff, gruff and goannaesque Ted. There’s just dim Kim, a jejeune juvenile who cares for casinos over cricket and is a complicit cuckold of his fiance, by his own father. The kid gives cause to the vulgar vintage Vogler to pause and ponder the proverbial: The first generation creates, the second builds, and the third destroys.

There’s a bit more polish to the heir apparent to the Warburton world wide web, Trevor, whose father, Liam, has straddled the globe but craves total control of his homeland media. His roots matter, notwithstanding keeping an eye on Me (not so) old China.

Time’s passage has inspired a few new cutting barbs, and future productions will no doubt inspire more, for never was a story more askew than the fate of Barangaroo.

An ensemble of nine keeps this nimble and nifty two hour, with interval, show firing.

Production designer Katja Handt, reprising her role from the original production, provides a fluid and sleek chic boardroom wall that flows between the two fortresses of influence, creating a curve that’s indicative of the waves of manoeuvring that are at play in the narrative.

And Stephen Hawker is back lending his lights magic to the many scene changes and the accompanying atmosphere.

Whip smart, scalpel sharp scripts are what we need in the theatre and Mr. Johnson has provided a playwriting providence over a number of notable productions. Media moguls, Hollywood hotshots, and a cavalcade of canines have fueled his fun filled plays. May one hope that he has been following recent ICAC proceedings and will put his peerless pen to the page again?