Review: The Elocution of Benjamin Franklin – Griffin Theatre Company, Downstairs Belvoir

Review by Kathryn Thomas 

Griffin Theatre Company’s production of The Elocution of Benjamin Franklin at Downstairs Belvoir is a thrilling example of the power of actor-driven theatre. In the intimate downstairs space, the audience sits just metres from the performer, creating a sense of closeness that makes every moment feel immediate and deeply personal. It’s a perfect fit for a play that relies so heavily on the presence and skill of a single performer.

At the centre of the production is Simon Burke, delivering nothing short of a tour de force performance. Playing the flamboyant and troubled elocution teacher Robert O’Brien, Burke commands the stage for the entire evening with extraordinary confidence. His work is transformational in the truest sense, shifting seamlessly between characters, voices, and emotional states while maintaining a clear through-line of the character’s psychological descent. It is a masterclass in performance technique with precision and control.

Burke’s ability to move between biting humour and moments of genuine vulnerability is particularly striking. The play balances dark comedy with an underlying sense of dread, and Burke navigates that tonal tightrope with remarkable skill. I attended the performance with a friend and we both left the theatre genuinely blown away by the sheer scale of what Burke achieves on stage. In a one-person show, there is nowhere to hide and Burke not only holds the space, he completely owns it.

The intimacy of the Downstairs Belvoir theatre enhances the experience significantly. The staging is detailed and thoughtful without ever feeling excessive. Each design element feels carefully considered, creating a world that supports the storytelling rather than distracting from it. The theatre craft throughout the production is particularly strong. Lighting and sound are executed with precision, working together to build atmosphere and shape the emotional rhythm of the piece. At times the design creates a palpable sense of dread, yet it also allows space for the play’s sharp humour to land beautifully.

The script itself can occasionally feel a little heavy-handed in its messaging. Some of the play’s themes and ideas are delivered quite directly, which at times risks flattening the nuance of the story. However, Burke’s performance elevates the material significantly. His intelligence and commitment as a performer bring texture and complexity to the writing, allowing the humour and humanity of the character to shine through even in the play’s more didactic moments.

One particularly brave choice in the production is the use of nudity, a moment that could easily feel uncomfortable in such an intimate space. Instead, Burke handles it with complete confidence and purpose. It never feels gratuitous; rather, it becomes another extension of the character’s vulnerability and defiance. In the close proximity of the Downstairs Belvoir theatre, it’s a bold moment, and Burke fully owns it.

Ultimately, The Elocution of Benjamin Franklin is a compelling evening of theatre anchored by an extraordinary central performance. With its intimate staging, meticulous design, and Burke’s sensational command of the stage, the production creates an experience that is unsettling, darkly funny, and unforgettable. We left the theatre thoroughly impressed, a testament to the enduring thrill of live performance when all the elements come together so effectively.

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