When the mind, body, and family conflict, which one can prevail?
First, Do No Harm, written by Grace Malouf, is a compelling exploration of medical ethics, family drama, and the right to be accepted for who one is. Presented in association with NIDA, bAKEHOUSE Theatre and Talia M-K as part of KXT‘s New Writers, New Works program, its stellar performances engage audiences in a show that keeps them on the edge of their seats.
First, Do No Harm centres around Alexei (Josh Merten), a young underperforming swimmer. His subpar results are a cause of concern to his dad Robert (Richard Hilliar), a former Olympic swimmer, and mum Melissa (Kate Bookallil), a surgeon campaigning for the head position in the Australian Medical Association. Alexei knows why he is underperforming: there’s a part of his body he doesn’t like, doesn’t feel is his. His arm. As he comes to grips with the condition underlying this revelation – body integrity disorder – he is offered a life-altering surgery by Ian Marney (Shan-Ree Tan), an orthopaedic surgeon and Melissa’s campaign rival. What follows is a breakdown in the family and a question of professional ethics.
Malouf’s writing is clever, providing good unexpected twists and turns. Its plot unravels delightfully and the characters have sound depth. Most notably, it explores its subject material well. Body integrity disorder is covered clearly and accessibly, and the differing perspectives that Alexei, Melissa and Robert have towards it is brought out nicely. Though some jokes are cheesy and the script is too long – the production runs over time because of that – Malouf presents an intriguing take on some very complicated topics.
The cast is illuminating. Merten’s emotionally charged performance captures Alexei’s turmoil well, and his interactions with Hilliar are particular highlights. Hilliar improves as the show progresses; he gets better when the script gives him more to do, and addresses the deep dissatisfactions Robert has. Bookallil peaks at the right times, creating great chemistry with her on stage family as a result.
Yet, it is Tan that really shines. Grace’s writing is clever because it subverts expectations, and Tan truly embodies that. His arc from cocky campaign opponent to voice of reason is thoughtfully portrayed, deftly taking the audience (and the characters) through the medical and ethical questions in the play. His sophisticated performance offers a much-needed respite from the family and helps viewers navigate the script’s complex story.
Direction from Malouf and Charley Allanah is beholden to the former’s script and sparse production elements reinforce this. Ultimately, First, Do No Harm is a fine closer for the New Writers, New Works season. It is a great indication of the talent within Australia’s playwrighting ranks just waiting to be recognised.
