The Humans (Malvern Theatre Company), at Malvern Theatre

What are the common links between the 8.2 billion people that inhabit the planet?

Simple. First up, we err because, let’s face it, to err is to be human.

Secondly, we have issues. Admittedly, some are more pronounced than others, but issues nonetheless.

American playwright Stephen Karam tapped into this conceit to create The Humans, which opened off Broadway in 2015 and on Broadway the following year.

Photos by Lorraine Bell

It claimed the Tony Award for Best Play in 2016 and was a finalist for the 2016 Pulitzer Prize for Drama.

Karam went on to write and direct a movie of his play – which carries the same title – in 2021.

It featured Richard Jenkins as the father, June Squibb as his mother and Amy Schumer as one of his two daughters.

Now, Malvern Theatre Company has adroitly tackled this.

Set in a dingy ground floor apartment in New York City’s Chinatown in 2014, The Humans follows a dysfunctional family that gets together for Thanksgiving.

The location is Brigid Blake (Bridgette Kucher) and her older boyfriend, 38-year-old Richard Saad’s (Samuel Fung) home.

With them is Brigid’s mother, Deirdre (Alayne Wright) and father, Erik (Frank Schrever).

They have travelled from Pennsylvania, bringing with them Erik’s mother, Fiona (Prani West), known as Momo, who has dementia.

Joining them is Brigid’s lawyer sister Aimee (Jessica Symonds), who has

ulcerative colitis and recently broke up with her long-term girlfriend.

Brigid is struggling to “make it” as a musician and composer. Her parents are put out that she lives with Richard, but has no plans to marry him.

For his part, Richard is completing his studies and due to benefit from his grandmother’s Trust Fund, as it matures when he turns 40.

Deidre, who is out of sorts, is not averse to passive aggression and guilt tripping.

Erik, who has worked as a school janitor, turned equipment manager, for 28 years is clearly troubled.

But the source of those troubles – shattering and divisive – will only be revealed near the end.

When she is not sleeping, Momo’s repeated exhortations often punctuate the air.

Loud and eerie sounds emanate from around and above Brigid and Richard’s apartment. The lights, too, are on the fritz.

That can be seen as a reflection of the uneasy environment in which members of the family find themselves.

As the evening unfolds and Thanksgiving dinner is eaten, we learn more about each of those present.

While they are thankful to be together, several pot shots are fired – all is far from bonhomie.

Issues about employment, health and well-being, interpersonal relationships and money surface.

The Humans is characterised by very natural performances among the six strong cast.

There is credibility in what we are seeing.

Think of the tension that is apparent at many Christmas gatherings, at a time supposedly about good cheer.

As in the best plays, it doesn’t appear that the actors are acting.

I could readily single out each of them, in what is a strong ensemble piece.

Integral to the production is the soundscape, coupled with the lighting, which is like another unspoken, but ever-present, character.

Blake Stringer is the sound designer, while Michael Rowe is responsible for the lighting.

Conversations just happen (or don’t) as they would at any family event.

I appreciated the vulnerabilities, the sensitivities, the push back and the feistiness.

The Humans deals with the everyday – with the vicissitudes of life.

I was impressed by Andrew McMillan’s detailed, two-level set design, which strikes a chord the moment one enters the theatre. 

That is undoubtedly helped by the colourful series of props that assist in dressing the set, the choices of Linda Corrin, Nicky Neville-Jones and Kayla King.

In keeping with the authenticity of the offering are the casual wardrobe selections for the characters made by costume designer Grace Denney.

What we see and hear unfold over 95 minutes may not be pretty, but it certainly resonates.

I speak of happiness and sadness, anger and disappointment, shame and terror.

Director Nicky Neville-Jones, who heads up Bottled Snail Productions, has done a fine job in keeping it real.

The Victorian premiere of The Human is on at Malvern Theatre until 6^th September, 2025.

For bookings, go to https://malverntheatre.com.au