Known for delving into the complexities of human dynamics, David Williamson has long explored the secrets, lies and moral compromises within everyday life. In Top Silk, bribery, wheeling and dealing, and manipulation are all part of the game. Everyone has a deal to make, and integrity becomes a moral dilemma rather than a clear-cut decision.  

Williamson was inducted as an Australian Living National Treasure in 1997, a well-deserved title for a playwright who has written more than 50 plays across five decades. Written 37 years ago, Top Silk feels like a play Williamson might have relished writing, given its sharp observations of ambition, intellect and human behaviour.  

When legal aid solicitor Jane discovers her latest case is her old flame Eddie who is facing a prison sentence for drug possession, the fight becomes personal. Meanwhile, her barrister husband Trevor is looking to shift into politics but to advance his career he will need to defend a powerful media mogul with questionable ethics. Then there’s their son Mark, struggling to find his own place in the world and an emotional connection with his father, who privately says to his wife: “He can’t be stupid, we’re both lawyers.”

Under the direction of Mark Kilmurry (The Lover & The Dumb Waiter, The Great Divide), Williamson’s words guide the dialogue-driven play. His witty prose has the audience tittering right from the opening scenes. However, those expecting the big laughs often associated with Williamson’s work may be surprised. Top Silk isn’t a comedy. Instead, Williamson wields language as a weapon, using it to expose the faults and contradictions within the legal system.

This play is about marriage and family on the one level, but it also examines the value placed on intelligence, from academia to everyday life. It questions whether academic skills and intellectual achievement are overvalued, while those deemed intellectual lightweights are put on trial and examined for their worth as human beings.

Nicholas Brown plays Trevor, a man torn between idealism and ambition. His explosive family conflicts reveal a character struggling with his internal battles and marital problems. Brown is captivating, his rage expressed through a reddening face, forceful vocals and a visibly tense, stressed physicality, giving Trevor’s emotional volatility a palpable presence on stage.

A joy to watch, Rachel Gordon is Jane, a woman caught between professional duty and a past love. Samir Nasser plays her son Mark, a Greenpeace T-shirt-wearing teenager whose strong moral convictions clash with those of his father.

Jeremy Waters is Eddie, a “foolish but decent human being” whose skittish, slouching physicality captures the mannerisms of someone with a drug habit. Eddie is a good man who’s made some bad decisions but possesses a kindness that makes him a sympathetic character.

The production is supported by Jamie Oxenbould as Tony, Thomas Campbell as Paul Bradley and the Judge, and Laurence Coy as Stuart Kelvin and the Prosecutor.

The performances are brought together by Kilmurry’s considered direction keeping the focus on Williamson’s dialogue. Kilmurry draws the audience into the proceedings, making them almost like the court attendees, silent witnesses to the arguments unfolding on stage, as Trevor turns towards the auditorium to make his case.

The creative elements help establish the era and dramatic tension. Ailsa Paterson’s set design places the production in the late-1980s world, with details such as magazines, a notebook decorated with Guns N’ Roses stickers and the 1980s fashion worn by Jane. Composer and sound designer Madeleine Picard’s music is particularly effective during the transition between scenes. Dark and menacing, it emphasises the drama as the story moves from one confrontation to the next.

Ultimately, Top Silk highlights the importance of compassion and not judging people too readily. As Trevor tells Mark, “The world isn’t black and white. We are all seducible, but we all have our limits”. It is this moral ambiguity that makes the production compelling. What would we risk everything for? When might our morals begin to blur? Thought-provoking and entertaining, Williamson’s work makes for good conversation because human relationships are never simple.

4 stars

Presented by Ensemble Theatre Top Silk is playing at the Ensemble Theatre in Kirribilli, Sydney until 12 September 2026.

Run Time: 2 hours 10 minutes (including interval)

For tickets visit Ensemble Theatre Book Here