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The much-anticipated Sydney season of Michael Frayn's latest work, following the exquisitely crafted Copenhagen three years ago, does not disappoint, even though there is no valid comparison between the two.
The one similarity is that both relate to highly significant but less publicised incidents of recent history; in this case the five years (1969-1974) of West German Chancellor Willy Brandt's reign and the infiltration of East German spy Gunter Guillaume to the inner sanctum of Brandt's government.
Australian audiences will be quick to relate to the machinations of a new political coalition headed by a charismatic leader whose overwhelmingly popular persona disguises a man riven with indecision; an acknowledged womaniser and probable chronic manic depressive (his hermit-like absences made the business of government almost impossible).
The play explores both Guillaume's dilemma (he genuinely admired Brandt) and, less effectively, Brandt the person.
Philip Quast gives us an imposing Willy, the statesman of few public words (and most of those shallow, repetitive rhetoric) who was, nevertheless, adored by the masses looking for a new beginning.
Geoff Kelso is equally well cast as Guillaume, whose wheedling, sycophantic style not surprisingly repulsed Brandt.
Another major contribution comes from John Gaden as Herbert Wehner, the pipe-smoking eminence grise in Cabinet who has seen them all come and go.
However each of the remaining seven in the all-male ensemble is effective, even if their characters are not nearly as well drawn.
This is not one for the weary of mind or limited attention span (almost a whole row of sponsor's seats were empty after interval on opening night).
Eminent Australian-born, UK-based Michael Blakemore (who also directed the London and New York productions) sets an extremely brisk pace within the expansive split-level set (Peter J Davison) and the tempo occasionally causes lost dialogue when the action quickly shifts from one level to another.
This, though, becomes subsumed by the absorbing story of a fascinating era in which, interestingly, the 1972 Munich Olympics massacre doesn't even rate a mention.
It is, essentially, a study of two men. One, Guillaume the traitor, was ultimately unmasked and punished, but without his infiltration and ability to persuade his masters of Brandt's sincerity, three key friendship treaties with Moscow, Warsaw and East Germany would never have been signed. Irony indeed.
© Cumberland Newspaper Group
