Reviewed by Kate O'Sullivan
When a modern classic like August: Osage County arrives in Perth—complete with some of Australia’s best performers—it’s a must-see. This Belvoir/Black Swan co-production is a reminder that even in a world dominated by TikTok and binge-worthy TV, nothing beats the raw, electric energy of live theatre.
Tracy Letts’ three-act epic drops us into the chaotic world of the Weston family, who reunite in their Osage County home following the disappearance of their patriarch, Beverly (Geoff Kelso). Left to pick up the pieces is Violet (Pamela Rabe), a force-of-nature matriarch battling mouth cancer and a prescription drug addiction. Alongside her are her three daughters, a granddaughter, and an ensemble of extended family members and acquaintances, all of whom have their own demons to face. As Beverly’s fate is revealed, old wounds resurface, and family dysfunction hits critical mass in an explosive examination of generational trauma.
Act One sets up the intricate web of family dynamics, giving the audience time to settle into the Weston household’s tension-filled atmosphere. But as we move through the play, deeper fractures in relationships emerge, exposing layers of long-held resentment, buried secrets, and cycles of trauma that seem impossible to break.
Pamela Rabe as Violet is simply iconic. She’s terrifying, hilarious, and devastating all at once—think Succession’s Logan Roy meets Meryl Streep in the 2013 film version of August: Osage County. Opposite her, Hayley McElhinney’s Barbara delivers a masterclass in controlled chaos, offering the audience an all-too-relatable lens into the complexities of dealing with a volatile parent. Ivy (Amy Mathews) and Karen (Anna Samson) complete the trio of sisters with beautifully nuanced performances, while Samson’s razor-sharp comic timing keeps the tension from becoming unbearable. Caroline Brazier as Mattie Fae is an absolute scene-stealer, her energy buzzing with every brutal, unfiltered remark, making her later plot line reveal all the more impactful. Bee Cruse makes a striking impact as Johna Monevata, a Cheyenne woman hired by Beverly to look after the house. Her presence is no afterthought—she serves as a quiet but powerful reminder of the land’s Indigenous history.
Clocking in at nearly four hours, this show might seem daunting in an era of 30-second content cycles, but trust me—it flies by. Every moment is crucial, and Eamon Flack’s direction ensures the pacing never falters. With Ella Butler’s costume design places the family firmly in their Great Plains setting, Bob Cousins’ set design keeps things minimal yet immersive, allowing the characters’ emotional turmoil to take centre stage. The tension builds and releases in a way that feels almost cinematic, proving that great theatre can be just as binge-worthy as the best HBO drama.
This August: Osage County is an emotional rollercoaster, packed with powerhouse performances and gut-punch moments that stick with you long after you leave the theatre. If you’ve ever fought with your family over Christmas lunch, had a complicated relationship with your mother, or just love watching generational dysfunction unfold (*hello, fans of The White Lotus), this one’s for you.
Reviewer Note: Tickets for this review were provided by the theatre company.
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