Review: Emerald City at the Ensemble Theatre

Review by Scott Whitmont

One could be forgiven for assuming that a play written in 1987 about issues facing a talented writer/publisher couple, art versus commerce and Sydney/Melbourne rivalries may be dated and lack relevance in 2025. David Williamson, however, has long demonstrated his talent to keep his finger on the pulse of middle-class Australian angst and, with a slightly updated script under the masterful directorship of Mark Kilmurry, The Ensemble’s return production of Emerald City remains eminently pertinent and relatable to the audience of today. Sydney versus Melbourne arguments are unchanged and we still debate about forms of entertainment and the dollars they can generate versus the value of high art and ‘literary offerings’.

Colin (Tom O’Sullivan) is a successful Melbourne screenwriter wooed to Sydney (the ‘Emerald City’) where he feels he’ll be better appreciated and soon fast track to greater success. His wife, Kate (Rachel Gordon) is not enthusiastic about their move North to the city where everyone seems obsessed with real estate and boasting the best Harbour views. She is an equally successful book editor, determined to champion the novel of a worthy but underappreciated Indigenous writer.Gordon persuasively reveals Kate’s determination and moral compass, as well as when her ambition leads it somewhat off track.

Colin’s agent, Elaine (Danielle Carter) knows her game and encourages him to continue to produce the scripts on which his reputation has built. Colin is determined, however, to change direction and get his new pet project off the ground - a World War II drama (inspired by his uncle’s experience) called Coast Watchers. In no uncertain terms, Elaine points out that there really is not enough drama involved in a story of naval officers who simply ‘watched coasts’! Carter’s Elaine is compelling and appropriately intimidating when she needs to be.

Colin’s new goal is to entertain and make lots of money rather than produce arty films with a deep message. Undeterred by Elaine’s advice, he soon partners up with Mike (Matt Minto) at an industry cocktail party. A would-be screenwriter and producer himself with nothing under his belt to justify his confidence and bravado, Mick successfully jumps onto Colin’s coat-tails, using his name and reputation to open doors and advance his own wildly ambitious commercial ambitions. He secures funding and (often duplicitously) obtains green lights for television productions both in Australia and beyond.

A con-man with little talent except a golden tongue and the ability to work a room, Minto’s Mike may not be the central character, yet he provides the stand-out performance of this production. With humour and gusto, his sleazy character lights up the stage whenever he appears. O’Sullivan’s Colin is certainly sympathetic and somewhat endearing, but does not exude the same charisma as his business partner/adversary. 

As the purse-string-holding merchant banker and would-be project financier, Rajan Velu’s periodic appearances are convincing and provide just the right level of big business gravitas.

Mike’s supportive girlfriend, Helen (Aisha Aidara) gives a laudable and bewitching support performance, ever positive and thoroughly likeable - the audience wondering throughout why such a beautiful, smart woman would stay in relationship with such a lying grifter.

Set, Costume and Video Design by Dan Potra and Morgan Moroney’s lighting greatly enhance the updated production, particularly with Potra’s inspired projected drawn images on the set walls, showing the various scene changes of rooms or apartments.

Composer & Sound Designer Madeleine Picard’s soundtrack of the late ‘80s give perfect aural atmosphere and a wonderful trip down memory lane for audience members old enough to remember them!

This moral tale tackles issues of personal and professional compromise, status, power and competitive ambition. It also succeeds as a humorous satire about the arts, the damage to our national culture, and the sacrifices being made to the quality of our writing for film, TV or print in favour of commercialisation. In the face of increased streaming services and massive overseas content, this is certainly as relevant today as it was 40 years ago - perhaps more so.

Image credit Phil Erbacher