Cost of Living (Sydney Theatre Co.) ★★★½

Written by Martyna Majok. Sydney Theatre Company. Wharf 1 Theatre. 18 Jul – 18 Aug, 2024.

If you cringe at the mention of the phrase “cost of living” these days, or are thinking STC is just remarkably quick to get a play about the current economic moment on the stage, then I’m here to gently let you down – Cost of Living is not a play about inflation or Coles & Woolies gouging consumers. No, this is Martyna Majok’s 2018 Pulitzer Prize winning play about four people navigating complex physical, emotional and financial relationships. Okay, I lied, it is kinda about modern economics…

We first meet Eddie (Phillip Quast), a former truck driver sitting in a bar telling a story about how he still sends his departed wife text messages. Next we see John (Dan Daw) interviewing Jess (Zoe de Plevitz) to take the role of his carer. He is well off and fiercely intelligent, but requires help with day to day activities due to his cerebral palsy. Finally we meet Ani (Kate Hood), a recent quadriplegic with a fiery temper and sharp wit who reluctantly accepts Eddie’s help.

The “cost” of living of the title is that of carers and those who need external care. Majok carefully navigates these four characters with respect and careful consideration as they tie a complex knot of power dynamics and friendships. Ani and John may present their difficulties more clearly, but Eddie and Jess are just as in need of support in many ways. 

Designer Michael Scott-Mitchell has produced a set that is concrete-chic or brutally depressing, depending on the scene. Aided by lighting by John Rayment and sound design by Guy Webster, the presentation does its best to accent the story and not draw attention to itself.

The performances are excellent across the board. Dan Daw (who is also the show’s co-director) makes John an inquisitive, frank and bold character who pushes the boundaries of his relationship with Jess, who is clearly attracted to him (but whether it is to his intellect, his body or his wealth is anyone’s guess – and that ambiguity makes the tension intoxicating). In comparison, the abrasive warmth of Quast’s Eddie and Hood’s Ani is instantly charming. Kate Hood is easily the show’s standout giving us a vibrant and exciting performance.

It’s impressive how Majok presents each character in ways that bucks any sense of stereotype. John may suffer from cerebral palsy but he is the smartest, richest character on stage. Jess is desperate for work despite her high level of education. Ani may be the most physically confined, but her personality fills the theatre. Majok refuses to treat any of the characters as victims or helpless.

The neat resolution might strain credulity but it thematically hits the nail on the head. The breathless reviews from the play’s Broadway run speak more to the American love of a neat resolution rather than any sense of verisimilitude, but it is a grace note on an inquisitive play that delivers an ultimately safe look at a different side of life.