The Comeuppance, at Red Stitch Actors' Theatre - 2 hours, plus interval

Personal and societal catastrophic incidents shape a pre-get together, ahead of a 20th anniversary high school reunion in Washington DC in 2022.

They form the basis of the conceit, which sees combatants take pot shots at one another in The Comeuppance, which is both dramatic and comedic.

Emilio (Khisraw Jones-Shukoor), who used to be a talented photographer, now produces underwater soundscapes, but doesn’t want to talk about them.

For the past 13 years he has lived in Berlin, where his partner gave birth to a daughter five months ago.

This is the first reunion he has attended and is only doing so because he will also be participating in a biennial event not far away.

Photos by Cameron Grant

He is the first to turn up at Ursula’s (AYA) home, where the pre-reunion is taking place, specifically on the porch at her house.

In emerges that his fellow classmates thought he was gay, which, clearly, he doesn’t appreciate. His turn of phrase can be vitriolic and cutting.

A diabetic, Ursula has lost sight in one eye and wears a patch.

Although she attended previous five yearly reunions, now with no depth perception she isn’t intending to be at the 20th.

Next up is Caitlin (Julia Grace), who is unhappily married to a retired policeman, who brought two children into their relationship. After four miscarriages, she doesn’t have any kids of her own.

As they chew the fat, the trio smoke weed and get high.

Anaesthesiologist Kristina (Tess Masters) arrives late. She has five children and a husband who hangs about the house playing video games. She feels she is doing all the heavy lifting in her family and drinks too much.

With her is her cousin, a former military man, Francisco – nicknamed Paco (Kevin Hofbauer) – traumatised by the action he saw and participated in.

At school, he used to be with Caitlin. Emilio calls out Paco for mistreating her at the time.

Missing the gathering is Simon (Douglas Lyons), who has been caught up with work, but who calls at a pivotal juncture.

Back in their school days, all but Paco were honour students of a self-described collective known as MERGE (Multi-Ethnic Reject Group).

But a pall hangs over this get together. History since school hasn’t been kind.

The COVID era still looms large. There are references to the Columbine shooting massacre, 9/11, the Afghanistan war, the first Trump presidency, storming the Capitol and the revisiting of Roe vs Wade.

Personally, none seem to be in a good place mentally. These are damaged souls and each of those present will be tested.

Death, too, looms large in the form of reflections or asides by the five (excluding Simon) as they grab a handheld microphone, even breaking the fourth wall.

That, I would suggest, is where the title comes in. They receive their comeuppance for the choices they have made.

Written by American playwright Branden Jacob-Jenkins, I thought these steps outside principal character were jarring and interrupted the flow.

At two hours, I also felt the play tended to labour and could readily have been cut back.

The actors were clearly told to exaggerate and although they did that effectively, I would have preferred their over-the-top characterisations to have been pared back.

Mind you, I emphasise the acting wasn’t without merit. Awkward moments, of which there are many, are well played.

Khisraw Jones-Shukoor’s is the dominant persona – he definitely doesn’t hold back, while Tess Masters’ meltdown as Kristina is something to behold.

The creative staging is another masterwork in the small space that is the Red Stitch Actors’ Theatre.

Set and costume designer Ella Butler has crafted the exterior of an ageing weatherboard house, framed by trees, with leaves strewn about.

It is well lit and acuity of sound is another feature. Joe Paradise Lui is the sound and lighting designer.

Directed by Gary Abrahams, The Comeuppance is a reckoning of sorts – how the hopes and dreams of youth have become mired in a cesspool of disappointment.

On at Red Stitch Actors’ Theatre in St Kilda until 25th May, it is a play you have to work at to fully appreciate and is one for selective tastes.