Rough Justice
By Terence Frisby
Directed by Maeliosa Stafford
Ensemble Theatre, Milsons Point (Sydney)
Reviewed by Tony Smith
Why would any man — anyone — claim to have killed his infant son when he had not? Terence Frisby's courtroom drama poses this question and answers it but partially.
For media pontificator James Highwood (Peter Kowitz), there are several possibilities. Prosecutor Margaret Casely (Lorraine Bayly) thinks he is protecting his wife (Denise Kirby), but this seems unlikely, given that she would be charged only with infanticide. Alternatively, Highwood may have calculated that his martyrdom in a trial picketed by the Right to Life would appeal to the lowest common denominator — his radio and print audience — and do his career no harm at all.
Highwood conducts his own defence and panders to the jury (the audience) by assuring them that they, and not the judge (John Clayton), must decide his fate. Unfortunately, the play concludes by taking this right from the audience, so destroying some involvement, but creating other stimuli.
The legal system is an easy target, as the action reaches a logical conclusion based on a premise tacitly acknowledged by the professionals to be false.
Fortunately, deeper veins are mined, thanks to fine acting by Kirby, who touches on the emotions aroused in the parent of a severely handicapped baby, and by Kowitz, whose complex character creates considerable doubt about the source of his sacrificial attitude. Is it guilt, chivalry or bravado?
Maeliosa Stafford's production evinces tension, despair, humour and pity, and is balanced and free of indignation. Intensely wordy rather than visually dramatic, the play creates a sense of urgency, and is a timely contribution to debates about euthanasia, mercy killing or death with dignity — see Rough Justice before you choose your term.