Centred around the domestic disputes of brothers Valene (Travis Cotton) and Coleman (Toby Schmitz), The Lonesome West is a play akin to that of Sartre’s “No Exit” or the work of Sam Shepard- with domestic troubles that offer no means of escape- no means that is, but suicide. Within this world, the parish priest Father Welsh/Walsh (Ryan Johnson), is having a crisis of faith/self- doubts his purpose, his impact and is losing confidence by the day, as the town’s suicide rate increases. The local teenage girl Girleen (Sibylla Budd) makes money poaching liquor to tight fisted Valene (who diligently marks his belongings with his initial), and has no qualms supplying liquor as economically crippled Coleman watches on.

This is a world in which funerals offer a steady supply of vol-au-vents, wherein a teenager is a philosopher and a mercenary to an alcoholic priest, wherein the daily routine is filled with threats of damage or general terror concerning tater chips.

At the heart of the piece is a comment about consumer society wherein we care more for belonging- money, a stove, a packet of chips- than for our neighbours, school friends and even family. It is also a play about the games people play to assert their standing- to elevate themselves through diminishing those around them. Worthy comments, and cunning poignant observations tumble from the mouths of Girleen and Father Welsh.

However, the production itself falls somewhat short. The transitions between scenes, relies heavily on black outs and scuffles from silhouetted actors arranging their own props and furniture failing to keep the pace across the full piece. There is a distinct absence of tension, particularly in the final moments of the play- wherein we no longer believe the actual threats being made between characters. Instead this is a very casual, naturalistic portrayal of a black farce: a style which relies heavily on pace (of dialogue and scene changes) in order for the final confrontation to be completely loaded and terrifying. It’s not. What is quite terrifying is some of the stage management aspects of the final 15 minutes- which left me uncomfortable for all the wrong reasons.

This is Peter Castairs’ theatre debut after a distinguished career of short films, and the recent feature film September- which may account for some of the very static blocking of the actors and the scene transitions. The cast lead by the very prolific and talented Toby Schmitz and the dynamic Travis Cotton do their best in the confines of the downstairs theatre, which on this occasion has an emblematic functional design.