What was the time of death for the American dream? In her Pulitzer Prize-winning play Sweat, Brooklyn-born playwright Lynn Nottage offers a compelling starting point: with the heedless disregard for the plight of the working class, which flatlined with the North American Free Trade Agreement. Set in Reading, Pennsylvania, as the country’s once-strong Steel Belt turned to rust, the play is a sociological exploration of class struggle in the United States. Directed by Zindzi Okenyo (Is God Is, Orange Thrower, Choir Boy) the play’s timely Australian premiere is here to close out Sydney Theatre Company's huge 2024 season.
Sweat is oft-quoted as the “play that explained Trump’s win” in the 2016 presidential elections. However, this description does not do justice to the depth of Nottage’s work and extensive research. Sweat is not merely an explanation, as that connotes a retrospective reflection – rather, when it debuted in 2014, the play served as a prescient warning that highlighted the dissatisfaction of blue-collar workers, who were once regarded as the backbone of the American economy. There is an eerie sense of déjà vu that comes with watching this play in light of the result of the United States’ recent presidential election. Sweat’s themes and concerns are just as relevant today, and have arguably become worse for both the working and middle classes.
The story unfolds in a bar, the watering hole of choice for the factory workers who toil away at the local steel mill. The narrative revolves around eight characters as they navigate the United States’ de-industrial revolution, and the layoffs and disintegration of trade unions that came along with it. Nottage’s script is a chiselled and masterfully honest work that reflects the complicated and often contradicting feelings, experiences and relationships of the factory workers. Her work revels in the ambiguity between solidarity and self-preservation, and does not provide the audience with any respite or a solution to such tensions until the very last line.
There is an eerie sense of déjà vu that comes with watching this play in light of the result of the United States’ recent presidential election...
The Australian ensemble is packed with local acting legends, with the likes of Lisa McCune and Paula Arundell, and each performer encapsulates their character’s angst well. As Stan (the bartender and unofficial mediator), Yuve Covich carries a great sense of restraint and diplomacy; his performance is understated, able to convey and evoke every emotion through subtle gestures without betraying any extremity. Equally compelling is Tinashe Mangawana as Chris; his resonant voice imbues his lines with depth and intensity, leaving the audience mesmerised and unable to look away from his dynamic and evocative performance.
Individually, the ensemble is strong, but there is a lack of chemistry between the cast which takes away from the realism of the performance. In particular, whilst the narrative does deal with hardship and conflict, the frequent shouting can be jarring, and diminishes its significance. The end result is a stilted ensemble performance, punctuated with moments of great eloquence and power. A special mention must be made to dialect coach Rachel Finley – the consistency in accents is strong and seamlessly integrated, which enhances the authenticity of the characters.
The production’s use of lighting is at times, somewhat obscure. The erratic blinking of lamps and stage lighting to indicate the passing of time or a new scene has strong Gothic tones, which feels out of place with the contemporary performance. The video designs projected onto the arch of the stage are muted, and despite the creativity of the visuals – like an image of the chimneys of the steel plants, and the passage of time indicated through news footage of the Bush and Obama presidential campaigns – the placement is uninfluential on the performance.
The sound design also struggles to heighten the performance, with choices that often feel disconnected from the action, and rarely serve to deepen the emotional resonance of the piece. As a result, the auditory experience largely relies on the ensemble’s tone of voice and moments of silence.
Meanwhile, the set design by Jeremy Allen faithfully recreates a quintessential small-town American bar. The realistic details like the Budweiser neon signage, vinyl upholstered seats, and adverts for Reading Beer evoke authenticity while foreshadowing the central theme of economic decline (as reflected in the closure of Reading Brewing’s Company in the 1970s). The play is primarily a conversation, and the set-up of STC’s Wharf 1 Theatre fittingly makes the audience feel like a fly-on-the-wall as they observe this story of privilege and struggle.
Sweat is an important play that represents the frustrations and turmoil of the working class. It would be easy to overlook it as an obvious discussion of class and race – but when considered in context, it is a profound and empathetic exploration of a group of people who have been consistently neglected. In the end, Sweat serves as a powerful reminder of the struggles faced by the working class, and offers a poignant reflection on the human cost of economic hardship.
Sweat is playing at STC’s Wharf 1 Theatre, Walsh Bay, until December 22. Find out more and book tickets over here.
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