A versatile set (Veronique Benett) provides all the two characters need – which is not much – to tumble gently into love. The pace is well-judged and the sound design, by Daryl Wallis, ensures noises on and off – a key element for the plot – are pitch perfect.

The ease of their banter and the minute, mercurial shifts in tone are, like Monica’s skill at the violin, the result of years of fine-tuning. Parker, as ex-Sydney Symphony violinist Monica, is all prickles and pained looks – whether it is the persistent twinge of the RSI that has ruined her career, or the agony of listening to loud country music. Hazeldine wears his character, the country-loving one-time golden guitar nominated Gary, like a comfortable old coat, leaning in to the clichés with a knowing self-deprecation. The real question is, is that enough?ĭirector Mark Kilmurry has dusted off David Williamson’s 2010 play, added a few contemporary references and handed it back to its original cast, Glenn Hazeldine and Georgie Parker to give it another run around the block. From the moment Gary and Monica meet, we know the outcome, and accept that how they will get there is the business of the play.

The story sticks to the well-thumbed pages of the romantic comedy playbook: the odd couple, weighed down by complicated emotional baggage, thrown together by circumstances, kindling an unexpected but inevitable spark of attraction.

Glenn Hazeldine and Georgie Parker make an engaging odd couple.

Vivaldi spring cello