‘The Children’: a play about nuclear fallout, friendly reunion and adult (and industry) responsibility

Given that one of the key subjects of English play The Children – performed this month by Black Swan State Theatre Company – is nuclear fallout, you’ll understand and appreciate that much of the play’s theme is heavy. Yet the production is also touching in parts, uplifting in others, and rife with humour every other minute. That writer Lucy Kirkwood manages to weave such dichotomous emotions in one play is a feat not too many playwrights manage, usually preferring to stick to a solemn vibe, or sarcastic one.

A tightly knit three-hander, each of the performers in the new Black Swan production deliver brilliant, clear dialogue over interesting, intricate action.

The story seems simple enough to follow: Hazel (Nicola Bartlett – you might remember her from fab horror flick Contagion) receives a visit from and old friend and former workmate, Rose (Caroline Brazier, Packed to the Rafters; Rake). Both, along with Hazel’s husband, Robin (Humphrey Bower, Blue Heelers; Queen of the Damned) are retired nuclear scientists who once worked at a plant where a major accident sees nuclear fallout affecting its surrounding town in the countryside.

While Rose’s visit at first seems like a simple catchup for old times’ sake, it is eventually revealed that she wants Hazel and Robin to both get back to working at the plant since all three have lived a good life since leaving science, and she feels they should take responsibility and replace whoever is risking their lives currently at the plant.

While there is a certain simplicity in the presentation of the play – just the one setting, a homely kitchen, the storyline and script are relatively complex.

As layered as the dialogue is, it is an easy plot to follow, with serious anecdotes balanced by uplifting humour, and a surprise twist or two by the play’s end. There’s even a breakout dance moment that adds another fun layer to the production.

The title of the play could be referring to future generations and the consequences of adults and how these will shape those future generations – that we’ve got to be careful what legacy we leave behind when it comes with the danger of nuclear fallout (or carbon footprint if you want another analogy). But the play’s title could also refer to how these very adults are still children at heart themselves – at their social and even spiritual best when they are behaving somewhat immaturely – kooky group dance routines, steals of kisses while one party is not looking, etc.

I’m glad one of the themes of this current production by Black Swan State Theatre Company deals with the serious subject of nuclear fallout. Since one of the company’s major partners is resources group, Fortescue, a play like this might remind the sponsor of the responsibility big business must take to ensure that not only our lives are safe, but that the lives of our children, and their children, are not irrevocably affected by industry fallout of footprint of any kind.

Antonino Tati

‘The Children’ is on at Heath Ledger Theatre, State Theatre Centre of WA until September 15.

Tickets are available through blackswantheatre.com.au.