The epic family saga is meaty stuff, and family reunions, with the return of prodigal sons and revolt of prodigal daughters, have provided plenty of fodder for the dramatic canon. McKenzie Country is firmly rooted in this territory, although in places it feels more like a battlefield.

The play takes its name from the McKenzie family at its heart (no geographic connection), comprising a single mother with six children, four of them at home, the father having died in a car crash some years earlier. The McKenzies have their troubles, and when older brother Hayden returns from Australia, family dynamics shift and the delicate balance of strained relationships is tested.

McKenzie Country is held together by excellent performances. Anya Tate-Manning, as sarky-mouthed middle sister Michaela, manages to find the humour and truth in her role with an excellently pitched and natural delivery. Brianne Kerr is strained and fidgety (though perhaps too thin?) as put upon daughter Viv, nervous about everything, and going nowhere with her life.

Anna Harcourt, as youngest daughter Abby, is an expressive energetic presence, and Alex Greig, as older brother Hayden, plays the humour nicely, and, when called upon, shows a darker side. Joe Dekkhers-Reihana, as ‘retard’ brother Steven, is a solid presence, despite less script time being devoted to his character.  

This complicated brood are all under the thumb of matriarch Margaret McKenzie (a superb performance from Michelle Amas), who struggles to keep her family in line with a sharp tongue and tough love attitude.

The story itself leaves something to be desired. While some of the comedy works, and there is real pleasure in recognisable Kiwi moments and local lingo, in places it feels dated (in this day and age what 24 year old has never downloaded an MP3?) and the dramatic revelations fail to connect – something I blame more on script than performance.

I also would have appreciated knowing where it was set; I assumed the Mackenzie Basin, based on the title, but this was not borne out, and a determinedly realistic family seemed to drift without a real setting.

However, design and production values are high. The set manages to display multiple realist locations, a difficult proposition on the BATS stage. Ben Williams’ lighting design supports these with a mix of practical and stage lights. 

The publicity material and programs deserve a mention, as they are particularly nicely done. An outstanding cast has been drawn together under the astute direction of Rachel Henry, and in her capable hands this strong ensemble manage to flesh out some excellent and multi layered performances.  

Page Left is an interesting new production company; made up of young female scriptwriters, it is determined to help ‘paper playwrights’ stage their plays. I salute this aim and enterprise, and the creative team they have pulled together for McKenzie Country is impressive.

While this production did not strike a chord with me I am eager to see what they will do next. 
_______________________________
For more production details, click on the title above. Go to Home page to see other Reviews, recent Comments and Forum postings (under Chat Back), and News.   

Copyright © in the review belongs to the reviewer