By David Williamson. Ensemble Theatre. Director Mark Kilmurry. 31 July – 12 September, 2026
Reviewed : August 5, 2026 *
Could a play written in 1989 about the law, justice, ambition, politics, education and family dynamics still resonate today? The answer is “Yes!” – especially if it was written by a playwright as perspicacious and perceptive as David Williamson and directed by someone as astute as Mark Kilmurry.
Top Silk is one of Williamson’s serious plays. His wit and wisdom without the comedy. This production highlights the fact that even after 37 years of technological and social change society hasn’t really altered very much. Plus ça change, plus c’est la même chose is as true today as it was when Jean-Baptiste Karr first coined the phrase in 1849.
Kilmurry directs Williamson’s trademark short, pithy scenes in a flicker-fast pace that is almost filmic. It works perfectly on Ailsa Paterson’s cleverly designed set that gives the impression of a wide focus lens drawing the audience into the action. Spare and clean, and ingeniously functional, it seamlessly becomes a living room an office, a prison interview room, a café, a courtroom.
The action is fast, the inter-relating themes unfurling as the actors reveal the flaws and frailties of the characters and the powerful world of law and politics in which they move.
Kilmurry trusts his audience keep the same pace as he expects of his cast, yet gives them, with the help of lighting designer Kelsey Lee’s carefully timed fades at the end of each scene, the chance to fix the moment clearly.
Williamson’s plot revolves around the Fredericks family, Jane a legal aid solicitor and Trevor a barrister with political aspirations. They have left of centre views despite the wealth they have accumulated. Their son Mark, in his final year at high school, is not a scholar, but has strong social justice views and is still angry with his father for representing the developers that had welfare recipients thrown out of social housing.
Imagine Jane’s surprise when her new client, a small-time drug dealer, happens to be an ex-boyfriend from her country schooldays. Jane’s compassion leads her to an ill-considered decision that almost ruins her career and has a deleterious effect on the family.
Rachel Gordon, as Jane, finds the character’s compassion and her strength and intelligence. Her Jane is quick thinking and articulate, down to earth, but understanding and empathetic, especially for her son – and for Eddie O’Donnell, who has suddenly appeared again in her life. Gordon gives Jane the grit and the commitment to stick by her values – and do what she feels she has to do despite the consequences.
Her husband Trevor, played by Nicholas Brown, espouses similar values, but is much more ambitious. He’s made good and is on his way to a safe state seat. Brown finds both the humane-ness of the character as well as the driving determination to succeed that has affected his relationship with his son. Williamson moves Trevor through a gamut of emotional situations and Brown depicts them all with believable intensity.
Mark Fredericks is played by Samir Nasser, a newcomer to the Sydney theatre scene. Nasser gives Mark the social conscience fostered by his parents but marries it with the loss of faith and belief in his father – and his own belief in himself. This is a delicately written role, and Nasser shows all the perceptions about youth implied between the lines.
Jeremy Waters brings similar belief to Eddie O’Donnell, a furniture maker family man turned drug user and reluctant small-time dealer. He’s in remand with a wife and four children and Waters portrays the genuine shame and fear in the man, a real concern for his family and a gentle simplicity and naivety that warms Jane – and the audience.
Thomas Campbell, Laurence Coy and Jamie Oxenbould play the six other characters that people this desperate time in the Fredericks’ lives.
Thomas Campbell is Paul Bradley the brash media tycoon who has promised Trevor his support if he will argue his case before the tribunal looking into the legitimacy of his media take over – and the Judge, who sits on O’Donnell’s trial.
Laurence Coy plays the oily go-between Jane approaches with an offer that almost ruins her career. Coy also plays the Prosecuting lawyer in O’Donnell’s case.
Jamie Oxenbould is Tony Turner, the oily politician whom Oxenbould gives every unctuous, self-promoting, devious trait one might have encountered in politicians of every persuasion. Oxenbould also plays the courtroom stenographer, typing away industriously throughout the courtroom scene.
Mark Kilmurry sets a fast pace. His cast respond with perfect timing, and clear, deft characterisation and interaction. Though still cunningly set in the 1980s, Kilmurry’s production packs just as powerful a punch about corruption and coercion, kindness and compassion as did productions Top Silk almost 40 years ago.
Also published in Stage Whispers magazine
* Opening Night