Art Review: A Star-Studded Comedy That Skims the Surface
In the Roslyn Packer Theatre in Sydney, giant banners set the tone for Art, the 1994 play by Yasmina Reza, translated by Christopher Hampton. One banner declares, "It's about friendship," another, "It's about a painting!" and a third jokes, "It's about 90 minutes." This lighthearted, dismissive approach welcomes audiences into a production featuring beloved Australian actors Richard Roxburgh, Damon Herriman, and Toby Schmitz, whose collective star power draws crowds, many to the theatre for the first or rare time.
On opening night, each actor received thunderous entrance applause, highlighting the audience's eagerness to see their celebrity favorites. However, this too-cool-for-it, jokes-above-all attitude permeates the entire show, directed by Lee Lewis with a crowd-pleasing eye. While Art is undeniably a comedy and delivers laughs, it feels lacking in depth, as if afraid to engage with the ideas it raises.
The Plot: A Painting Sparks Conflict
The play revolves around Serge, played by Damon Herriman, who spends €160,000 on a large white canvas that appears entirely white, with subtle lines only visible upon close inspection. Marc, portrayed by Richard Roxburgh, is incensed by the purchase, viewing it as a step towards artistic elitism and a betrayal of their shared reality. Marc tries to enlist their mutual friend Yvan, played by Toby Schmitz, in his criticism, but Yvan remains tolerant, leading to escalating tensions.
The conflict culminates in a heated evening at Serge's apartment, where long-simmering resentments and insecurities in their friendship come to the surface. Yet, Art only feints at depth, quickly recoiling as if terrified that genuine emotion might bore the audience. It encourages laughter over reflection, with a mantra of "Get in, laugh, and get out!"
Performance and Reception
Roxburgh, Herriman, and Schmitz, all friends offstage, bring a sense of play and enjoyment to their roles. Roxburgh's puffed-up physicality is fascinating and ridiculous, Herriman maintains absurd composure, and Schmitz leans into good-natured vacuity, with the trio lobbing insults with delighted ease. Schmitz steals a scene with a monologue about his upcoming wedding, offering a brief glimpse into a character's inner life.
The timing is sharp, and the opening night audience was in stitches, giving an immediate and enthusiastic standing ovation. However, the experience feels hollow upon leaving the theatre. In a time when cynical productions about cynical men may not resonate, audiences might crave more substance.
Art runs at Roslyn Packer Theatre until 8 March, then tours to Brisbane's QPAC from 11-22 March, Melbourne's Comedy Theatre from 22 April to 3 May, and Adelaide's Her Majesty's Theatre from 20-24 May.
