Disgrace at the Maidment Theatre

The J.M. Coetzee novel Disgrace closely follows the classical idea of tragedy, in which the hero falls from prosperity as a result of his own actions.

A contemporary tone is added by exploring the political complexities of post-apartheid South Africa. We are introduced to a bleak, disenchanted world in which liberation has been undermined by the emergence of new forms of oppression.

Carl Nixon's adaptation, performed by the Auckland Theatre Company, successfully distils the essence of this nuanced, multi-layered novel.

If there is fault with the writing it is that Nixon shows too much reverence for the original. Parts of the book are transcribed verbatim and although Coetzee's prose approaches perfection on the page it can appear stilted in performance.

The adaptation comes to life in its clear delineation of character and personal conflict. Stuart Devinie's portrayal of David Lurie is superb. He first appears as an urbane, sarcastic character whose confidence depends on a highly developed facility for dealing with abstractions. When confronted with the harsh realities of rural poverty, his authority collapses.

Hera Dunleavy delivers a fine performance as Lurie's daughter, Lucy. Unmoved by lofty abstractions, her behaviour is impulsive and incomprehensible to her father.

Her stubborn attachment to the land ultimately allows her to transcend the humiliations she endures at the hands of her neighbours.

Equally effective is Kirk Torrance's portrayal of the scheming farmer Petrus. Torrance projects an easy-going, laconic charm that humanises a character who could easily appear abhorrent.

The rest of the cast give strong performances and the thoughtful use of cast doubling throws light on some structural parallels in the novel.

The production effectively used video projection and hot light to convey the starkness of the South African countryside. But at times the highly refined aesthetics of the stage design seemed at odds with the harshness of the drama, particularly in the home invasion scene, which failed to convey the chilling brutality of the violence.

A much-needed rawness was added by John Gibson's haunting soundtrack. His use of recorded sound established the dogs as a deeply moving and visceral presence. In his relationship with these creatures, Devinie presents the play's most compelling image. By insisting on a dignified cremation for the unwanted strays, his character discovers the value of basic human decency and creates a secular vision of redemption.

What: Disgrace
Where: Maidment Theatre