The Ancient Greeks understood the disastrous ripple effect that our ancestors have on us, psychic trauma running through every branch of the family tree. And while the age of Ancient Greek Tragedy is over, the family drama continues to reign as a theatre staple for a good reason. It’s just like that Philip Larkin’s famous poem goes: “They fuck you up, your mum and dad. They may not mean to but they do.” There’s just nothing quite so relatable. 

In deVINE, the familial conflict of the play is set in motion when Blair, the wealthy sister who lives in the city, comes home to the family vineyard to help out overworked Bobby with their mother. It’s an awkward family reunion as any, filled with trepidation, uncomfortable silences, and bad jokes. Along with the sisters, there are also the young cousins, Esther, Jimbo and Mikah, who have their own adolescent problems to contend with. [More] 

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Mental health is one of the toughest issues to discuss in the public sphere. You never want to come across as exploitative or salacious when covering it, but there is always the question of whether sensitising the issue is really the problem.

That is one of the issues faced by deVINE, the new play by the RECollective that debuted this week at Auckland’s Basement Theatre.

The story of two sisters, Bobby and Blair, and their children who reunite at their family vineyard to deal with an impending crisis. [More] 

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Silences are tricky. Heavy, onerous, sometimes downright dangerous – and in the ongoing absence of any communication there is often a growing chasm of what really needs to be said.

But then, what is its antithesis? A fiery explosion of truth? A heart-wrenching confession? An absolution?

There’s no easy answer and RECollective Theatre’s DeVine straddles that blurry line with a multi-generational narrative that is both poignant and gritty.

Cian Elyse White, Esmée Myers and Romy Hooper are a talented trio who take us up north to where young love bloomed among the vines. Bobbi, Blair and Jo are the progeny of sweet dark lovemaking but tragedy has struck this family, leaving those left standing devastated, bitter, angry, cynical and hurt.

There’s also another generation rising up and between aunties and cousins, sisters and mother, the current beautiful grapes, and the tartness of attempting to preserve a former sweetness. There is a caustic humour that makes this play work on so many levels.

All three actors play numerous roles, swapping with ease, clarity and speed to create, overall, a well-paced narrative that has some beautifully compelling moments. The detail in all three actors’ performances is also worth noting: from language, physicality and unique characterisation all the different personalities come to life with seamless, tiny adjustments.  

The opening sequence is a tad too long but once the play starts rolling it quickly finds its stride. The direction by Morgana O’Reilly is well suited to the world of the play and Amber Molloy’s lighting is en pointe, illuminating a multi-functional world of washing and vines. 

However, with very limited information available about the actual show and the repeated emphasis on addressing unspoken issues, a courageous conversation on the issues of mental health just doesn’t take place at the level that is expected. The work does, quite successfully, shine a light on a number of the issues surrounding mental health with delicacy and subtlety, but if the issue is around the silence and silencing of these voices, then there is much more that needs to be voiced to really pack the punches these creatives can deliver. 

A good start to 2017 and a remarkable little show that is well worth watching for the talent on stage and a beautiful, enduring and important story. 

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