Poniard Productions, directed by local Hamilton theatre veteran Richard Perrott, has created a really strong piece of theatre with excellent production values and an outstanding cast for this unexpectedly grim play by William Mastrosimone.

Marjorie is home alone in the flat she shares with two other women and Matilda, the cat when a stranger just walks in and begins to harass, and then sexually assault her. The man, whose name is not given for most of the play, first wheedles then moves in on Marjorie in one of the more explicit scenes I have seen on stage for a long time. However, Marjorie defends herself and manages to turn the tables on her attacker with equally violent and threatening behaviour, in a series of confrontations that are almost as challenging for the audience as they are for the characters and the actors themselves. 

Jex Moore’s performance as Marjorie is just extraordinary. Her vehemence and commitment to the role are totally convincing and her character’s shifting responses to her situation as victim, aggressor, beast, human and girlfriend of her returning flatmates run an emotional gamut. She shows strength and range in voice and physicality.

Phil Dalziel also gives an exceptional performance as Raul, the intruder. His vocal range and ability to switch personality from normal to very nasty indeed is disturbingly real. The most alarming part of this scenario is that with his untrustworthy character, he manages to work on all three women and almost convince them that a case of sexual assault would not stand up in court. 

Genevieve Sheffield as Patty, the excitable flatmate, and Kelly Taylor as Terry, the rational, calm member of the trio, also give strong and convincing performances as their characters  try to work though their own dynamics as a group of women friends with this new and alarming human catalyst. He causes them to confront their misgivings about themselves, each other and men, in general.  

The production all takes place in one room, the sitting room of a flat, and while many of the references in the text and dialogue are clearly American idioms, it is played for the most part in New Zealand accents and works well for this. The set design works simply and well, with an upstage fireplace that becomes a literal and figurative focal point for the last section of the play. The use of props − tables, chairs, bicycle, drinks, cigarettes, matches, fly spray – is all organically presented but each has a part in the unfolding conflict between the characters. And the offstage sound effects add to a convincing and all too real scenario that disturbs but also, eventually satisfies. A production to be proud of but definitely not for younger audiences. 

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