For a play written only 25 years ago, Hansard by Simon Woods has an intentionally traditional quality about it; this reflects its purpose in spotlighting a particularly vicious piece of legislation created by the Conservative Party under Prime Minister Maggie Thatcher’s leadership in 1988, which became known as Section 28. The Act was driven by commentary in the House of Lords such as:
“… they (Gay men) act as reservoirs of venereal diseases of all kinds. Ask any venereologist: syphilis, gonorrhoea, genital herpes and now AIDS are characteristically infections of homosexuals,” said The Earl of Halsbury, “I was referring to male homosexuals. I did not think then that lesbians were a problem. They do not molest little girls. They do not indulge in disgusting and unnatural practices like buggery. They are not wildly promiscuous and do not spread venereal disease. It is part of the softening up propaganda that lesbians and gays are nearly always referred to in that order. The relatively harmless lesbian leads on to the vicious gay. That was what I thought then and what I still in part continue to think, but I have been warned that the loony Left is hardening up the lesbian camp and that they are becoming increasingly aggressive”.
This legislation outlawed any discussion of lesbian and gay matters in schools and was law for 15 years between 1988 and 2003. It stated that local authorities: “shall not … promote the teaching in any a state-funded school of the acceptability of homosexuality as a pretended family relationship”.
Hansard relies on its audience having some familiarity with this political debate, which is perhaps more immediate to UK audiences than it is here in Australia. Nonetheless, the central relationship between Robin (Andrew Clark), a politician, and Diane (Anita Zamberlan Canala), his wife, is universal in its exploration of domestic tension. Playwright Woods has the couple gently sparring in a style reminiscent of Richard Briers and Felicity Kendal in The Good Life, occasionally escalating into sharper, more passive-aggressive exchanges akin to Judi Dench and Geoffrey Palmer in As Time Goes By.
The play stays on a measured emotional course, occasionally hinting at deeper revelations, which eventually come through in a moving reveal. While some of the writing’s restraint means it doesn’t always deliver the dramatic punch it promises, The Stirling Players’ production makes a thoughtful and committed effort to bring nuance and texture to the piece.
Director Sally Putnam and her cast clearly honour Woods’ script, handling the interplay with skill and care. The Stirling Players’ team should be commended for their strong performances and their commitment to presenting a work that asks audiences to reflect on political history, social progress, and personal relationships.
The Stirling Players’ Hansard is at Stirling Community Theatre until 27 September. Tickets at stirlingplayers.org.au
