This very fine production directed by Mike Daley with finesse and attention to the Pulitzer Prize winning script, is a passionate celebration to the nature of genius and the relationship between father and daughter and also between older and younger sisters.

The father, Robert, is a renowned mathematician whose last years have been plagued by the increasing onset of mental illness and we see, through flashbacks, how this has affected his relationship with his daughters and his students.

Scott Harding as the father, gives him an endearing warmth and the scene where he thinks he has made a major mathematical break through but has written gibberish about the weather, is very powerful.

One of his students, Hal (also the name of the computer in 2001 a Space Odessey) discovers a paradigm – shifting proof about prime numbers in Robert’s office, after Robert’s death.

The title refers both to that proof and to the plays central question: can his daughter Catherine prove the proof’s authorship?

As Catherine, Grace Cullen is luminous. Desperate to stay in control and fearing she is following in her father’s footsteps both mathematically and mentally, Catherine brilliantly conveys the Asperger aspects of the character and creates a fully realised person which the very attentive and involved audience could relate to and recognise.

A performance to remember.

As the older sister Claire, Natalie Peart creates the overbearing, ” I know better”, annoying character that we all know and love and hate in equal parts.

Established in a successful career, she wants to sell the house, pack everything up including Catherine and move on to a brighter future. Brighter in her terms.

This is also a nuanced performance wrapped up in an ebullient overcoat.

Rounding up this quartet of fine actors is Richard Martin as Hal the student and self-admitting nerd who has been going through Robert’s many notebooks in the hope of finding some semblance of the brilliant mathematician Robert once was.

With some self-depreciating lines well delivered, Richard gives us a character to enjoy, smile with and cheer on in his pursuit of love and success.

All of this on a great back yard set with dying, unwatered plants in pots, and the ubiquitous BBQ covered in a soiled blue tarpaulin, creates levels and areas the director can move the actors around with natural ease. Well done.

The sound design by Mike Daley and Geoff Evans is outstanding. Evocative but never overbearing, it is a key element to this production, and I see in the programme that it is on Spotify. I will be listening.

A very satisfying night at local theatre. Great play, great direction, more than great performances and a delicious merlot from the bar. 

Long live Community Theatre and Dolphin’s ongoing involvement with the Auckland Fringe.

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