Glenbrook Players: Holding the Man - Review by Jack Maidment

‘Holding the Man’, written by Tommy Murphy and based on the memoir of the same name by Timothy Conigrave, is a significant work within the history of gay Australia, portraying the harsh realities of love and loss for gay men at the height of the AIDS crisis in Australia. Tackling a piece such as this is no small feat, but the creatives at the Glenbrook Players have not only risen to meet this challenge, but created a beautiful piece of theatre that I will be thinking about for a very long time.

Leading the charge of this fantastic production is director John Forbes, his love and understanding of the source material evident throughout every scene. Movement within and between scenes was exceptional, and it was very clear that Forbes has worked hard with his cast to drive the message of this piece home. It is clear that this piece is important to him, and I commend him not only for managing to pull off such a complicated and heart-wrenching production, but also for being the only director to make me enjoy the use of blackouts in a production. His use of visual metaphor throughout the production is masterful, not one prop or set piece is unnecessary, and his wrangling of the ensemble to create complex shapes and details was brilliant (this show seriously has the most creative on-stage car I think I have ever seen!)

Not usually mentioned when reviewing a play is the choreographer. However, it is an absolute joy to say that Georgina Khoo was an outstanding contribution to the production team for this show. Scattered throughout the piece are small dance numbers that range from synchronised nightclub zumba to heart wrenchingly intimate ballet. No dance number feels out of place, and it was always a joy to see them whenever they occurred.

Executing the vision of the highly inspired production team, is an ensemble cast of ridiculously talented performers who, through the workshop-like quality of the rehearsal period, have created strong personal connections to each of the characters they portray. This connection extends beyond the stage and creates a true sense of connection for the audience across the broad array of characters we see during the production.

Portraying a role like Timothy Conigrave, the protagonist and point of view character of this piece, is not an easy task. To effectively capture nearly twenty years of a person’s life, from high school to adulthood, takes immense range and dedication, and Dale Morgan-Mawby has both of these in spades. From the second we see him as a child watching the moon landing, to the end of his tragic love story, Morgan-Mawby captures every facet of Conigrave’s personality, taking us through each stage of his life with sensitivity, humour and honesty. 

Making up the second half of the leading duo is the multitalented Ashley Benson as Timothy’s partner, John Caleo. Juxtaposing Timothy’s shy innocence and awkwardness, Benson portrays Caleo’s football star confidence in an outstanding manner. His commitment to the role is unmatched, showing acting range I have not seen in a very long time. Benson is a bonafide superstar, and his performance truly is something special, showcasing equal amounts of charisma and sensitivity that resulted in the audience falling in love with John alongside Timothy throughout the production.

Juliet, Timothy Conigrave’s childhood friend and partial matchmaker between he and John, is a grounding point for much of this play. There is a lot emotionally riding on her as a character, and Rebecca Dean carries this performance with a charming energy that elevates much of the first act. Not only does Dean portray Juliet, but she also pulls double duty as a number of ensemble roles, showcasing her range in a skillful and effective way.

Further deepening the impact of the story is the heart-wrenching performances of Naomi Crew and Gabriel Pope as Mary-Gert and Dick, Timothy’s loving but misguided parents. Both Crew and Pope portray the conservative pearl clutching of 1970s/80s Australia in a believably tragic way, balancing their flaws with genuine care. Further, both Crew and Pope fill out the ensemble, and are able to transition between these different characters with ease, never slipping up or crossing the personalities of each role they play.

Rounding out the cast are a fantastic ensemble, these performers breathe life into every setting, from the prestigious Xavier College in Melbourne, grassroots LGBTQIA+ student movements on the campus of Monash University, and a bevy of gay clubs, NIDA rehearsal rooms and AIDS clinics.

 With performance skills far beyond his years, Zak Harrison demonstrates strong understanding of comedy and drama in his portrayals of two friends in Timothy's life, Biscuit and Peter. Both of these characters provide acceptance and advice to Tim throughout his life, and Harrison tackles each role with maturity and a strong sense of character. 

Similarly Madeleine Sheehy portrays varying perspectives of parents during this period of time, showing a comedic charm as Juliet’s mother Mary, and bringing me to tears with her portrayal of John’s well-intentioned but ultimately misguided mother Lois. Sheehy has a wealth of theatre experience and it is all on display throughout this production. 

Joshua Strojanovic brings the realities of the AIDS crisis to the forefront of his sensitive and layered performance, portraying John’s prejudiced father and a patient suffering from AIDS related illness interviewed by Tim. Joshua’s portrayal of these roles and his other ensemble commitments demonstrate strong versatility as a performer. 

Rounding out the ensemble is the ridiculously versatile Niamh Bonnet. Portraying a wide range of supporting characters, Bonnet is a crucial element of this production. As the only major lesbian character in this story, included mainly to be spoken over by the gay men at the Monash University gay rights club, it would be easy to handwave this character as a comedic ‘bit part’. However, Bonnet showcases a depth to this and all of the other roles she portrays that makes her a delight to watch on stage. 

All in all, the ensemble are the lifeblood of this show, and they have clearly all worked so hard to pull together something truly special.

‘Holding the Man’ is a confronting piece of theatre, but its confronting nature is compounded with just how important I think it is for everyone to see. In a world where it feels as though we are moving backwards socially, it is crucial for us to realise where we have come from, and just how important it is we don’t go back. The Glenbrook Players have pulled together a production that exposes the heart of ‘Holding the Man’ in a beautiful way, taking the audience on a journey into the complexities of love, acceptance, heartbreak and death in a way that I believe is truly unmatched. I loved every minute of this production, and I implore anyone who can to catch the second week of this fantastic show, you will not be disappointed.