‘Foreskin’s Lament’ (Press, 6 August 1987)

The play "Foreskin’s Lament," written by Greg McGee and directed by Ian Mune, is being presented by Colour and Movement and Michael Edgley International at the Theatre Royal from 6 to 9 August 1987, with performances starting at 8 p.m. and running for approximately 2 hours and 15 minutes. Mike O’Brien's review questions the play's continued relevance and ability to attract audiences in an era where the national focus has shifted, particularly following significant events in rugby, including the clean-cut portrayal of Captain Kirk and his team defeating the Australians. Despite enjoying a more exciting spectacle than the previous brute force style associated with rugby, O’Brien argues that the sport hasn’t completely shed its more unsavoury elements. The play goes beyond rugby, tackling broader societal issues within New Zealand, including emotional failings, sexual norms, racism, and violence. O’Brien acknowledges "Foreskin’s Lament" as a savage and brutal critique of these themes, although he expresses doubt about the audience’s ability to grasp the intended message. He observes that the portrayal of male characters often reverts to juvenile, piggish behaviour, with lines delivered suggesting that any deviation from traditional masculinity brings ridicule. Women characters are reduced to derogatory terms, further reflecting an underlying criticism of societal attitudes while paradoxically eliciting laughter from the audience. Roy Billing’s performance as Tupper stands out, serving as a blend of likability and pathetic ambition, pushing other characters towards a more ruthless approach. Peter Tait and Eddie Campbell deliver compelling portrayals that enhance the narrative's darker aspects. Robert Pollock’s character, Foreskin, presents a more sensitive, educated perspective, though some of his philosophical musings towards the end may undermine his credibility. While the play has been marketed as a brilliant comedy, O’Brien contends it is neither wholly comedic nor entirely brilliant; instead, it is a serious work discussing themes of relevance. He concludes that "Foreskin’s Lament" is accessible drama with the potential for mass appeal, even as it grapples with significant social critiques.

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