The Spook

‘The Spook’, by Melissa Reeves, is a multi-award winning Australian play, presented by LOGOS Productions showing at PICA Performance Space, Perth Cultural Centre in Northbridge nightly at 8 pm until 13th June. Strictly limited seating.

             In his Bendigo suburban bedroom, Martin (TJ Power), a nervous and introverted young railway worker is recording his report for ASIO. As he left a footie match in 1965, Martin had been approached by Alex (Brendan Hanson) a ‘suave’ – more greasy - secret service agent who was recruiting gullible youngsters to feed the Organisation with local gossip, about who could have Communist tendencies in the area.
             Martin’s widowed mother, Trixie (Monica Main) a staunch Liberal voter, is very worried about the great interest, and knowledge, that her son has of Russia and the Soviets coupled with his loss of interest in the church. Neither she, nor Marti’s girlfriend, Annette (Elise Jansen), has any idea of his part-time job as a spook. Ludicrously, Alex suggests that Marti should join the South Bendigo Communist Party, and so infiltrate the opposition. The party has an autocratic leader in the form of Frank Nash (Ian Toyne), with supporters from many areas of life. Martin discovers that Communism is not simply a Russian preserve, but that around the world there are many types of Communists, all fighting their own individual battles. Fellow Party members include George (Nicholas Papademetriou) and Elli (Michelle Fornasier) Tassekis who have escaped from the Greek Colonel regime.
               Martin becomes disillusioned finding that being a spy is not as portrayed in the James Bond films, filled with excitement and good living. In fact, the thoughts of his family and friends are quite disturbing for Martin. 1968 Prague Spring is a turning point in the play and leads to a powerful and tragic climax.

Superbly directed (and designed) by Vivienne Garrett this was a powerful production. The acting was filled with energy, a special mention to TJ Power who despite being on stage for almost the whole of the two and a half hour play held the audience in admiration, sympathy and revulsion of his character.

Despite this being an award winning play, I felt that there were a couple of brief periods of the script that could have been pruned, but overall the pace, delivery and characterisation were well above average. Every actor, each having to play two or three parts, created clearly different and interesting personas.

Excellent subtle and mood creating lighting by Mike Nanning. Maeve Mitchell’s wonderful costumes covered many of the 1960 designs including the ‘A’ style suit, and materials like the hideous beige corduroy coat that we are all trying to forget. An appropriate selection of records of the era – such as Barry McGuire’s ‘Eve of Destruction’ - coupled with Dan Mazzarol’s sound design gave full authenticity to the period. An amazing amount of thought has gone into this production, even little make-up touches like Frank’s thick eyebrows – don’t all men with strong political feelings have thick eyebrows?

This true story was based on a youngster who was recruited not by ASIO but by the barely acknowledged ASIS. For a job with ASIO, and they are currently recruiting 2,000 new members, see Seek.com

A frightening look at the Guantanamo Bay mentality of the secret service in the 1960’s. Hilarity, sadness and an interesting recall of the era superbly recreated.