Milk & Blood are the third and fourth instalments in Benjamin Nichol’s anthology series of solo plays united by the shared themes of love, loneliness, violence and resilience across the Australian landscape.
Milk & Blood are distinct and separate stories, although the first in Nichol’s anthology to be written in mind to be shown in tandem. An experience described in Nichol’s own words as overwhelming, but ultimately creatively liberating.
And an experience it was, Milk & Blood is not for the faint of heart, the subject matters are tough topics to discuss than to see actors perform on stage. The diptych between a Mother’s staunch defence of a sexually violent son and a Sex Worker who follows the eerie siren call of danger after a violent attack makes an unlikely duo. But these strange bedfellows hold a tender heart that offers an audience a truly captivating piece of theatre.
Milk centres on Brigid Gallacher’s Mummy. Delightfully manic, Gallacher’s strong characterisation pulls the audience to attention and an unease is washed over you. Although the first few chapters of Milk felt similar in pacing and tone making it slow to start, it is quickly forgotten as the story blooms and more is revealed.
Gallacher and Nichol ride the complicated line between judgment and sympathy, they make the audience feel conflicted about their feelings on Mummy. With such a provoking subject matter it would be easy to be slipped into the cliche or the contrived to which Gallacher should be applauded for the nuance of her performance.
Blood is focused on Charles Purcell’s Daddy. Dynamic and charismatic, Purcell’s mastery of physicality and voice takes the audience by force, becoming a ringmaster of domination. It is a charming and wildly different atmosphere, giving the audience some much needed relief with humour.
This makes it all the more tragic as Purcell’s Daddy slips off the end and begins a downward spiral with no bottom in sight. The bravado of the Blood starkly contrasts the soft nuance of Milk, making them perfect sides of the same coin.
For any actor, these stories are a feat to perform, Nichol’s writing is meaty with exposition to ensure his characters are fleshed out, and their respective subject matters do not relent. However, seasoned performers such as Gallacher and Purcell, take it in stride to deliver beautiful provocative work with great care and empathy.
What was particularly impressive was the subtlety of Harrie Hogan’s lighting design – who transforms the space through simple shape, colour and intensity of light to evoke a change in place and time. Further supported by Connor Ross’ sound design; which particularly shone in Blood, they hold the audience’s focus solely on the performer, bolstering the intensity of Milk & Blood respectively, into captivating theatre pieces.
Nichol’s mastery of words is the crown jewel of Milk and Blood. His ability to create multilayered complex characters with fully formed worlds around them is impressive for a playwright writing for multiple characters, let alone a single character.
It is clear great care has been taken to make these stories as authentic as possible, as stated before it would be easy to slip into the cliche or become contrived, which speaks to the empathy that has been given in the rehearsal room as the trio of Nichols, Gallacher and Purcell all worked on both Milk & Blood together, it reads as deeply personal work.
These works are not meant to be comfortable, in fact the opposite. But they can be immensely enjoyed. Which dare I say Australian theatre needs a hell of a lot more. An audience member’s preference over one or the other will certainly depend on identity and life experience, which I believe is the quiet genius behind debuting these respective stories as a double bill. Could it be that Nichol is quietly urging his audience to explore stories that they wouldn’t normally be drawn to? That would be a question to ask Nichol himself.
Milk and Blood
fortyfivedownstairs, 45 Flinders Lane, Melbourne
Performance: Tuesday 20 August 2024
Season continues to 1 September 2024
Information and Bookings: www.fortyfivedownstairs.com
Images: Brigid Gallacher in Milk – photo by Sarah Walker | Charles Purcell in Blood – photo by Sarah Walker
Review: Nicholas Carr