NUTS Takes on the Enron Scandal

With the end of the financial year and tax returns looming, I wandered into the Esme Timbery Creative Practice Lab on August 5th for a brief escape from the end-of-term fatigue. I entered the show with no idea of the affairs of the American corporate world in the late 1990s to early 2000s, and I certainly couldn’t tell you what the Enron scandal was, let alone the intimate details of the characters it pertained to. After the performance tonight, I have a clearer idea of what happened to the energy conglomerate, even if through an abridged and dramatised series of events. 

The University of New South Wales Theatrical Society’s (or NUTS) production of ‘Enron’ by Lucy Prebble was nothing short of explosive, with the play containing high stakes, dashes of anthropomorphic symbolism, an undercurrent of facetious cynicism in its political commentary, and an unrelenting message about human greed and its relationship to capitalism. The efforts of Director Alex Mouhtouris and Assistant Director Lanah Watters are highly commendable. Delving into a dramatic satire on corporate greed is no easy feat, but they managed to revitalise the story of the Enron scandal without losing the mordancy or relevance. 

The shifting dynamics throughout this show are striking and leave audiences experiencing a sense of cognitive dissonance. Jeffrey Skilling (Maeve Nelli Cox) is pompous and egotistical – so in turn, sizzling to watch on stage – as the unravelling of his relationships and status brings an undeniable schadenfreude to the audience. Andy Fastow (Liam Verity) is nothing short of unhinged, and the chemistry between Cox and Verity is marvellous and of comparable quality to the complexity of the relationship between Skilling and Claudia Roe (Elise Lang), which was passionate, if not psychologically reactive. In the arguably most impressive performance of the night, Ken Lay (Bora Celebi) is no class act; however, the actor certainly was in his characterisation of Lay, with his rendition bringing a boiling tension and shuddering drop of realism into a cast of exaggerated archetypes. The supporting cast did more than their title would suggest: their uncanny ability to embody a series of roles with a seemingly effortless transition between them was masterful. From an amusing attempt at ventriloquism to a bizarre dance sequence, it is clear that this cast is willing to take any job thrown their way. 

The scenography of this production was a crucial element in its success. The set design made intentional engagement with the aesthetics of the turn of the 20th century, with retro design choices that leave older audiences grappling with nostalgia, and younger audiences curious (if not entirely confused). The distinct sets refined and reinforced the grounding of this world. The engagement with technology through this production was purposeful and eye-catching, as I found my eyes darting between all the moving parts within the show. The entrancing rotation of lighting choices acted as a fellow element that enhanced the experience of this performance, as it represented the chaotic atmosphere underpinning the plot of the play. 

All in all, this performance was a definite taster into the fiery nature of political satire, but not without the intensity of a tragicomedy, and certainly acted as a reminder not to commit white-collar crime. 

Enron is running from the 5th-9th of August. Tickets are available here.