Type – Dramatic social satire
If you liked – Prima Facie; An Enemy of the People; An Inspector Calls
Top Silk: David Williamson’s text still holds weight in this new production from Ensemble Theatre
Top Silk by David Williamson premiered in 1989, so I was very interested to see how the plot and dialogue would hold up after more than thirty years. I am happy to say it does – mostly – thanks to the strong cast who have been recruited for this production. When your business is satirising and skewering human pride, folly and greed, unfortunately there is plenty of material to work with, and it never goes out of style. This play deals with familiar Williamson territory – institutional corruption and power dynamics, illuminated via a prickly marital relationship.
The core of the play is the domestic setting in which high-flying QC Trevor Fredericks (Nicholas Brown) and legal aid lawyer Jane Fredericks (Rachel Gordon) are locked in a perpetual battle of wits and values, not least when they are sparring over the future of their teenage son Mark (Samir Nasser). Each of the lawyers must make a momentous decision in their work lives, which will inevitably impact their personal lives with potentially devastating results. Brown and Gordon are lively and convincing in their roles, and work well with the deceptively simple dialogue.
Williamson’s always been famous for his ability to capture the vernacular in which he writes, and while this play is probably not the best example of his skill, it is still witty, funny and snappy. Nasser as their son shows excellent promise, already demonstrating a naturalistic and authentic acting style that enlightens this small part with genuine talent. It could easily be played as a stereotypical bored teenager but he does much more than that.
Thomas Campbell is perfect as the odious Murdochian media owner, and Jeremy Waters as Eddie, Jane’s legal aid client, is marvellous as he captures the ironic humour and pathos of the character. True to the theatre’s ethos, this is a balanced and skilled ensemble cast, who bring the characters to life.
Ailsa Paterson’s set is also deceptively simple, yet it provides effectively for several changes of scene, in conjunction with Kelsey Lee’s lighting that shifts our focus. Three levels, six chairs and two tables create a multitude of locations, from lounge room, to kitchen, office, gaol and courtroom. Mark Kilmurry’s direction uses the levels well and the action flows naturally and effortlessly, keeping the pace rapid and thus the dramatic tension is maintained. Madeleine Picard’s composition helps to locate us in the 1980’s with a voluptuous Vangelis-style synth soundtrack, which punctuates the killer lines that signal the end of each scene.
Is Top Silk Worth Seeing in Sydney?
By the end of the play, we have witnessed the characters’ moral journeys; both Jane and Trevor have paid a price for their choices, and young Mark appears to be the sane and grounded member of the family. This is not a tragedy after all, and we are left with some glimmers of cautious hope that there are still integrity, loyalty and love in the world.
Tickets and Practical Info for Top Silk in Sydney 🎟️
By David Williamson AO
Directed by Mark Kilmurry
Ensemble Theatre, Kirribilli
Until 12 September 2026
Tickets: here
Director: Mark Kilmurry
Assistant Director: Jessica Fallico
Set & Costume Designer: Ailsa Paterson
Lighting Designer: Kelsey Lee
Composer & Sound Designer: Madeleine Picard
Cast
Nicholas Brown
Thomas Campbell
Laurence Coy
Rachel Gordon
Samir Nasser
Jamie Oxenbould
Jeremy Waters
