By Liron Peer

Be careful with whom you choose to go to Top Silk with otherwise you’re in for a heated trip home. A dramatic standout of David Williamson’s pieces, Top Silk can only be described as humorous, hot-blooded, and triumphant. Leaving you questioning the value we place on morals versus ethics in society.

We find ourselves in the home of esteemed married lawyers, Jane and Trevor Frederick, who both face their own principal conundrums in the face of the law and their personal family lives. Jane’s assigned to the defence of her first boyfriend, Eddie, whom she hasn’t seen in 20-odd years. Eddie is facing a harsh sentence for a regrettable drug related crime, while Trevor faces the weight of choosing his career or family in his pursuit of success. All the while we see their son Mark, who gets caught in the crossfire of his parents', begin to mature and find his own way through life.

Williamson's clever contradictions within his characters drive the play with Jane, a legal aid solicitor, whose moral compassion and impulse may blur ethical lines. And her husband Trevor whose albeit centre left political ambition, is morally questionable, risking his relationship to both his wife and son. Williamson’s craftsmanship in his attention to character and stakes is a masterclass of the form, all the characters have deep rooted beliefs, backstories, that all interweb creating a powerful and crucial chemistry in every scene.

The direction of Mark Killmurry, enhances these character dynamics, with how the characters hold themselves in the space. You see this clear physical change as each of them evolve, bringing the audience along with them. Alisa Paterson’s set design was able to hold a multitude of settings, whilst still allowing each scene to hold its own. From Frederick's homelife, to an office space, a restaurant, a correctional centre, a shoe shop and a court room.

The moment the characters step into each space, it immediately reveals its own story within the macro world of the play.

Rachel Gordan balances Jane’s hearty and emotionally driven character, with one that keeps secrets and ignores the consequences to her actions. Her persevering beliefs as Jane, is endearing to watch, with the attention she places on her son Marcus, her open heart to an old friend, and her boldness in arguing her way against political male figures. Jane’s grit in fighting her way through her encounters, still resonates today with the need for women to campaign to be heard.

Nicholas Brown, as Trevor, did an upstanding job in delivering an, at times, unyielding and formidable presence that began to deteriorate, illuminating Trevor's emotional vulnerabilities after years of repression. This is poignantly seen in his relationship with his son, Marcus, played by Samir Nasser. The two share a touching relationship, built on wounds of the ego, and an unspoken hostility. Nasser did a commendable job in playing a young man who is struggling to find his way through life, but under the youthful angst holds his parents' lives dear to him.

Jeremy Waters as Eddie was a standout within the production, his in depth characterisation gave an endearing freedom in Eddie, whose energy was exuberantly bouncing off Jane, and tugging at the audience's heartstrings.

Jamie Oxenbould as Tony Turner, played a convincing sly and unnerving politician who has discarded his morals for control and political gain. Thomas Campbell, navigates comedy and cunning expertly in his portrayal of media mogul Paul Bradley.

Thus, Williamson's play maintains a piercing relevance 40 years later, capturing the disillusionment of having to navigate what is right and wrong in order to advance and survive within the social apparatus.