Writer: Mike Bartlett
Director: Dom Stephens
An Intervention follows two friends brought together by their ability to argue. But when one lets the other down by failing to protest against government intervention in a war overseas, the tension that once unified them begins to drive them apart.
Actors Tom Zachar and Neila Stephens take the audience through the painstaking years of friendship feud. One believes they have moved on for the better, the other mourns the fun they used to have. They both fervently disapprove of each other’s choices, but their connection prevents them from truly letting go.
As well as friendship, conflict is a central theme of Mike Barlett’s writing. Throughout the play, Bartlett repeatedly brings the audience’s attention to a devastating international war that is unfolding alongside the plot. Championing the power of the individual within political activism, Stephens’ character advocates that one person can be the tipping point to evoke government action, and she is very disappointed when her friend does not agree.
Yet, ironically, Stephens’ character becomes so wrapped up in external wars that she forgets to fight her own battles against alcoholism and crippling mental health. What ultimately tests the friendship is their failure to support each other through their personal wars. But will the friends eventually find each other at their darkest hour?
The storyline is somewhat predictable as the friends make the textbook mistakes that catapult them towards self-destruction, and stuck in a cycle of meeting up and falling out, An Intervention can feel like it is on loop. Yet, Barlett’s intelligent writing relieves the audience from any tedium by littering his play with wit and self-deprecation that the actors deliver with expert timing. As well as humour, Bartlett incorporates sensitive storytelling amidst the friends’ disputes, such as the story of Casper’s mental illness told using a harmonica. Cleverly, this harmonica is subsequently used to symbolise our own protagonist at her worst.
Director Dom Stephens’ effective theatrical symbolism is furtherly evident as he utilises minimal set and subtle costume changes. The few props that are on stage have the audience’s full attention, such as the bottles and wine glasses that are persistently on show, thus bolstering the prominence of alcohol in the character’s story.
Zachar and Stephens are vehement in their character development, displaying emotion that is equally forceful and sensitive. Delivering Barlett’s script with commendable pace, they demonstrate a staged naturalism of the highest quality.
However, the reason that this play will stay with you lies predominantly in how it ends. The somewhat predictable storyline is salvaged by a harrowing, hopeful finish that catches the audience off guard. Told through extremely impressive, rather risky staging, the last scene creates a physical and emotive intensity that is sure to leave you with chills, if not a tear in your eye.
Runs until 30 August 2025
