HIR offers full theatre package
HIR by Taylor Mac, directed by Katherine Mcrae, Circa Theatre, October 9 to November 6 Reviewed by
If you were to think that (pronounced ‘here’) is a show solely about coming to terms with gender identity, you would be mistaken. The play, which the American playwright describes as absurd realism, is steeped in black comedy as a family tries to march towards a better future without reconciling the past.
Isaac (Dryw Mcarthur) is a Marine who served in Mortuary Affairs and has returned home after a dishonourable discharge only to find the home he longed to take comfort in is nothing like how he left it.
His father, Arnold (KC Kelly), has had a small stroke and is now content to wear dresses, incontinence diapers, and clown make-up; Max (Felix Crossleypritchard) is no longer his sister but his transmasculine sibling; and his mother, Paige (Perry Piercy), declares she’s ‘‘gone a little batty’’.
None of these characters are completely likeable, they are all flawed, and some of these flaws are revealed only later in the play.
The actors are spectacular. Not only do they maintain a flawless American accent throughout, but the chemistry
HIR
between them, the energy they bring to the stage, and emotions they display to deliver utterly gripping performances is worth the price of entry – a testament to the stellar direction of Katherine Mcrae.
Correct casting is important for theatre, and I commend the team for casting a trans actor in a trans role. I must give a special mention to Piercy, for whom it
seems Paige was written for, delivering a powerful performance of this complicated character.
The set works masterfully with the script. Paige has decided not to continue performing traditional gender roles and has decided not to participate in any domestic labour and this is reflected in the outstanding set design by Lucas
Neal who, with the assistance of Jacob Banks, has managed to build half a house in Circa One – complete with plumbing!
The house is a tip, clothes and dishes everywhere, while a mountain of black rubbish bags is stacked outside. The stage is raised slightly and underneath it we see dirt and other junk – already the foundations of this house appear unkempt.
The audience is a fly on the wall, as the rough edges of the house are exposed – Pink Batts, carpet underlay, wood bracing, even the pipes. Even so, the house reveals even more towards the end of the play.
This play is fun, modern, and, at times, uncomfortable in the best possible way. This is easily one of the strongest theatre productions of 2021.