"Those who talk, don't know. Those who know, don't talk..." – Carl Williams.
Broken River is a confronting and suspenseful new play by Melbourne writer Tony Reck. It is an expose of the dark heart of evil lying beneath the surface of crime and its policing in present-day Melbourne.
A dismembered female body is discovered in country Victoria. Detective Sergeant Peter Rowstone of Victorian Major Crime pins criminal Marlene Corchoran as the prime suspect. But Rowstone himself has a few questions to answer. What was he doing at Broken River the night Patel was murdered? Why was he high on a cocktail of Viagra and MDMA? Rowstone constructs an elaborate conspiracy. Behind it malingers 'The Brotherhood': a secret organisation of powerful men who engage in depraved rituals at an isolated country lodge. Who did kill Junie Patel? What are the consequences for the parlous state of democracy in Victoria and its fragile Rule of Law?
Directed by award-winning Melbourne director Richard Murphet, and performed by a company of nine experienced actors in a strange setting straight out of David Lynch.
"In Victoria, there isn't much corruption. They kill you down there". – Arthur 'Neddy' Smith.
Warning: Contains some nudity, strong coarse language, both sudden and sustained loud noises, potentially triggering content or themes, including Violence,Sexual Assault or Abuse,Drug References,Violence Against Women,Misogyny,Sexual References,Death,Murder
"It is the physicality of the production which most impresses. We sense the possibility of something new, something beyond the serried repetitions of the silver screen." – RealTime review of Quick Death and Slow Love (La Mama 2015)
"The Absence of Knowing is fast-paced and physical ... under the expert guidance of Murphet. It will also shock you to see just how much physicality such text-laden material can allow. Murphet's masterful direction is important."
– ‘What Did She See’ blogspot review of The Absence of Knowing (La Mama 2017)
"Mr Murphet’s mise en scène brings out the instances of fear, pride, evasion, aggression, psycho-sexual undertone and desperation – the last leading to the inevitable final exchange – or what the playwright Bernard-Marie Koltès considers inevitable."
– ‘Stage Whispers’ review of In the Solitude of Cotton Fields (La Mama 2019)