Jed, Riley and Yolande Brophy (yes, all related) are directed by Geraldine Brophy (not related) in this strong rendition of the mystery An Unseasonable Fall of Snow by Gary Henderson at Wellington’s Circa Theatre.

The nature of the interrogation that takes place is itself mysterious, less an interview than the inexorable unravelling of a human being, as Liam (Riley) is called to account for some terrible crime. Each question-and-answer offers another glimpse of Liam’s life and each glimpse heightens the need to know more.

The stage is stark: a table and two chairs; a coffee trolley; a translucent screen. Lisa Maule’s lighting partners with the action beautifully, marking chronology shifts and underlining the dialogue with startling shadow effects that ask their own questions. Stage, sound, light, and action balance one another in a gratifying minimalism.

There’s a finely balanced interplay, too, between the characters onstage. That the audience is sustained on the dynamism of a single dialogue is a credit to taut direction and solid acting. Jed Brophy as Arthur is a commanding presence as befits his interrogatory role, while Liam is tentative and uncertain, the contrast marking the power dynamic as sharply as the shadows on the wall.

While the story unfolds in the form of an interrogation, which would be difficult to animate effectively, mannerism and posture are well-employed in driving tension: Arthur strides and intimidates; Liam’s slouch is like a cringe. There’s one tricky and somewhat abstract monologue by Arthur that dissipates the emotional charge for perhaps a beat too long; I briefly notice this amongst interaction that otherwise dances with tight cues and tempo shifts, violent outbursts and moments of moving vulnerability.

In this interpretation of Henderson’s classic New Zealand play, Geraldine Brophy has wrought a haunting union of beautifully judged elements that will stay with me for some time.

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A man is in a room waiting.  A young man nervously enters and sits at the table.  Nothing is said. And so starts Gary Henderson’s intriguingly tightly written and gutsy play An Unseasonable Fall of Snow currently playing at BATS theatre. 

One of the first lines the man Arthur (Jed Brophy) says to the young man Liam (Riley Brophy) is “You like puzzles…?” which, as the play progresses, is as much for the audience as it is for Liam.

Who these two are, what their relationship with each other is and what the outcome will be of their intense and dramatic encounter are just some of the pieces in this puzzle. A set of psychological mind games ensure that are not so much concerned with who did it but why.

The ruthless and sadistic interrogator Arthur questions the diffident and self effacing Liam about an incident in the early hours of the morning in Wellington during an unseasonable fall of snow.

Mercilessly and relentlessly, Arthur pursues his prey, confusing the inarticulate Liam more and more.

Liam’s one word answers and his inability to either explain himself or take responsibility for his actions so frustrates Arthur that tempers flare to boiling point with violent consequences.

Yet Arthur doesn’t have it all his own way and as the cat and mouse game progress aspects of Arthur’s life are exposed to reveal that all is not what it seems, as Henderson’s themes of truth, consequence and the value of human life slowly emerge. 

Under Geraldine Brophy’s understated yet assured direction the father and son team of Jed and Riley Brophy dig deep in Henderson’s electrifying script to bring out many subtle nuances beyond the actual dialogue. 

The tension is at times palpable as the games are played out by these two around the table. With minimal movement, they hold each other’s and the audience’s attention, never flinching from the intensity of their exchanges.  Yet the silences are just as compelling as the dramatic vocal interactions and although a little hesitant at times on opening night, once the actors get into their stride this will be a most engaging and compelling production of a great New Zealand play.

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I walk into the theatre unfamiliar with the play but having supreme confidence in playwright, director and actors alike to deliver an excellent piece of theatre. For what else can one expect from such a line-up of proven talent? 

And they deliver. I am happy not to have seen or read the play, as it is a bit of an enigma that unfolds, answering questions it raises, creating moments of doubt as to the actors’ choice of interpretation but – like the jigsaw puzzle on the table – eventually every last aspect fits together to give us a complete picture. 

It is a little eerie for me as I realise that the events of the night happen in a Wellington I know very well, down to being able to accurately guess the train station Liam uses from the times given. I find this unsettling, as if I should recognise this young man. And in many ways I do, as we all do. 

Many quips are made in the programme and publicity about the Brophys: Jed and his son Riley are on stage, their wife /mother produces and Geraldine Brophy (no relation) directs. Geraldine allows the play to be a performance piece, honing moments on stage to highlight essential shades of tension and release. As both an actor and director she always has such a superb sense of timing.

Jed Brophy plays Arthur, an alpha male who controls the action on stage. Riley is the young and confused Liam, trying to defend his actions and find a way out of his predicament. Both turn out excellent performances.

Lisa Maule’s lighting is subtle and dangerous, and superbly operated by Antony Goodin. Given the restrictions of space, height and range in this theatre, it is masterly. Ross Joblin’s set is infuriatingly simple, and gives us no clues as to what is happening and where we are. And yet, it is all there.

Lyrical, that’s the word I want. The name of the play sets the tone for this piece – it is lyrical, poignant and challenging.

This is only the first offering from Bats for 2014, and this production has set the bar very high indeed.

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