David Williamson, the most produced playwright in Australia’s theatre history, continues to deliver compelling new works, his most recent being the explosive dramas Aria and The Great Divide. But this time, he revisits and refreshes one of his most iconic plays: Emerald City, first penned in the late 1980s.

Despite being written over 35 years ago, the story remains sharply relevant, especially for Australian audiences. It captures the eternal rivalry between Sydney and Melbourne, the creative tension between artistic integrity and commercial success, and the precarious domestic harmony between two ambitious, competitive writers.

Emerald City is a reminder of what Williamson does best – crafting authentic characters and delving into the complexities of human ambition, ego and relationships.

Matt Minto plays the hustling Mike: an arrogant buffoon eager to claw his way to the top. He shifts seamlessly between over-the-top dramatics and sharp comedic timing.

Rachel Gordon is a joy to watch as Kate, especially in the inebriated scenes. Her slouchy, loosened body language elicits laughter even before she speaks. A clear audience favourite, she communicates as much with a knowing “mm” as she does with her lines. Tom O’Sullivan plays her husband Colin, the self-important writer in a signature black polo, bringing both ego and vulnerability to a man torn between idealism and ambition.

The role of Helen, originally played by Nicole Kidman in the 1988 film adaptation, is now portrayed by Aisha Aidara. With a cascade of wild dark curls, she brings fresh energy to the role. Danielle Carter is well cast as Elaine, the no-nonsense, overworked agent. Her 80s power wardrobe and sharp delivery make her a standout.

Under the direction of Mark Kilmurry (The Lover & The Dumb Waiter, The Great Divide), Williamson’s words guide the dialogue-driven play. His witty way with prose has the audience tittering right from the start, particularly as the descriptions of Sydney, chardonnay socialists, and the importance of owning water view real estate clearly resonates with the Ensemble Theatre crowd.

Having written over 50 plays over 50 years, prolific Williamson’s love for human dynamics has shaped his writing, giving it a depth that astutely resonates on stage. Those familiar with the playwright’s work will note his reflections on issues that matter to him. As in The Great Divide, the topic of housing comes up again, only this time, his cutting remarks and jabs are at the pretensions and phonies of Bellevue Hill.

Dan Potra’s set, costume and video design firmly anchor’s the play in its 1980s setting. From Helen’s blue eyeshadow and electric blue umbrella-topped cocktails to Elaine’s bold power suits and red snakeskin blouse. Projected behind the action, iconic Sydney images appear framed in film negatives. The harbour is ever present but there is also detail in the little touches, such as the movie posters and taxi scene, with the fare counter increasing.

Composer and sound designer Madeleine Picard’s music is right on point to indicate romantic moments and underscored with just the right amount of cheese to earn a laugh. The music tempo moves with the script pace, particularly during Colin’s frenzied monologue about his hunger for wealth. Picard’s attention to detail—like era-accurate phone rings—adds to the nostalgic reminders.

Williamson’s script and the banter between characters is a joy to hear. The story is entertaining and captivating, though the frequent narration from each of the character disrupts story flow. At times, it adds comedic value, however it could be trimmed without losing impact.

Witty, incisive, and thoroughly entertaining – Emerald City is classic Williamson through and through.

4 stars

Run time: 2 hours 10 minutes (including interval)

Emerald City is playing now at Ensemble Theatre until 23 August 2025. 

For tickets visit Ensemble Theatre

ICONS: ENSEMBLE CONVERSATIONS with David Williamson (Playwright)