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A relevant classic that still resonates todaySummary
Rating
Good
Have you ever received news so disheartening that having scotch for breakfast sounded like a reasonable idea? Sunday on the Rocks, based on the play by Theresa Beck which premiered in 1994, explores this very scenario. Directed by Rachael Bellis, it dives into the lives of three housemates navigating the complexities of their existence and various choices and mistakes they regret, over a morning of heavy drinking.
The storyline is straightforward yet impactful. Elly (Candace Leung), one of the housemates, celebrates her pregnancy and impending abortion by getting drunk on scotch. She gets Jen and Gayle (Olivia Gibbs-Fairley and Rachael Bellis) to join in the revelry as they discuss their lives and views. The humour quickly becomes darker as she buys cigarettes to further mark the occasion. The trio discuss how their Christian activist housemate, Jessica (Julie Cheung-Inhin), would judge their varied life choices, from sex work out of financial need, to being a married man’s mistress. The actors effectively convey a sense of gallows humour and solidarity, drawing several genuine laughs from the audience.
The play is structured into two acts, linked by Jessica’s arrival. Jessica is portrayed as a more nuanced character than a mere stereotype. She is well-intentioned but her views and actions, although meant to be supportive, are ultimately harmful. She helps the other women clean up their mess and tries to remain nonjudgmental, though her beliefs and Elly’s teasing put her to the test.
The play stands out for its solid treatment of sensitive subjects like abortion, sex work, and domestic abuse. These issues are handled not as taboo but as dark, everyday realities. The main conflicts do not happen necessarily because of opposing views, but because of the way they are handled – characters refusing to treat each other with kindness or actually empathise beyond surface level, leading to tragic breakdowns in communication,
This aspect is particularly relevant today, especially when someone declares that “if Republicans were in charge, we’d probably be figuring out how to operate a coat hanger.” In 1994, this was a dark joke. Now, with Roe v. Wade repealed and the health of millions of women in the U.S. endangered, it resonates with a chilling relevance.
However, the main issue lies in the acting. While the first act successfully captures the camaraderie of women commiserating over breakfast scotch, blending dark humour with genuine emotion, the second act fails to maintain the necessary intensity. Elly’s threat to Jessica with a knife lacks the urgency it demands, delivered with the same energy as her complaints about wicker chairs. This, coupled with the play’s length, makes the second act feel somewhat monotonous despite the dramatic events unfolding.
The set design is commendable, effectively recreating a cluttered 90s living room. The music choices, featuring old classics, enhance the atmosphere, while the overall audio and lighting setup complements the scenes well.
Sunday on the Rocks is a powerful period piece that tackles timeless issues like abortion, sex work, and domestic abuse. The play’s exploration of these themes highlights the need for empathy and understanding in today’s divided world. Despite some acting inconsistencies, the play successfully bridges the past and present, urging audiences to engage in meaningful dialogue and foster solidarity.
Written by: Theresa Rebeck
Directed by: Rachael Bellis
Sunday on the Rocks has completed its current run.
