Waiting for the show to begin, I notice that the rest of the audience seems to be full of many of Auckland’s energetic and engaging creatives, recognised from a wide range of other shows I’ve seen. It is indicative of the collegiality between artists to see this support for each other, and this audience brings a positive and expectant energy to the room.

The Ballad of Briar Grant by Jack McGee, and presented by Squash Co. Arts Collective, is described as a dramedy about two sad divas. We are introduced to the first of these, Hayley (played with great focus and precision by Phoebe Caldeiro), as we eavesdrop on her phone conversations with her best friend Briar Grant. 

We learn a great deal through these conversations – Briar is feisty and somewhat impulsive and Hayley is devoted and keen to move on from her degree in communications with Briar. Unfortunately for Hayley, Briar does not reciprocate Hayley’s declaration of devotion and quickly arranges for Hayley to fly to France instead of to California to see her.

Having set up Hayley’s despair at being bundled off to a place she has no interest in, we are then introduced to her work colleague in the apple orchard, played with great energy and charm by Anna Barker.

Hayley is at first somewhat shy and introverted, but her new colleague is dedicated to getting her to open up. The dynamic between the two is wonderfully drawn, and as we discover that Hayley’s new colleague is also called Briar Grant, Hayley’s disbelief and the new Briar’s insatiable curiosity about the original Briar give rise to an increasingly absurd (and entertaining) set of circumstances that could follow this revelation. 

The dialogue here is fast and witty and both performers deliver it with style and conviction. The new Briar is spiky and sometimes overshares, creating a great contrast with Hayley’s reluctance to engage. This contrast is at the heart of the play and both performers do a wonderful job of making these characters real and relatable. There are some excellent one-liners and it’s clear that the audience enjoys this verbal sparring a great deal.

Heather Wright’s set, consisting of crates of apples and some hand painted banners, often mirrors the messiness that the characters experience. Apples end up everywhere as Hayley and Briar struggle to come to terms with the situation they are each in, and when some equilibrium is reached, the apples are tidied up and removed. There may be a metaphor attached to the eating of apples throughout the play, which links new Briar to her existential need for change, but this is subtly done and perhaps more effective because of this.

The actual ballad (spoiler alert – because, as the title of the piece suggests, there is one) is both somewhat unexpected and also a natural progression from the rest of the performance. It is acerbic, witty and thought provoking all at the same time. Performed with great conviction and style by Phoebe Caldeiro, it revisits many of the ideas already touched on during the play. However, it does not really resolve them.

In fact, nothing is tied up neatly by the end of the piece; instead, the questions that are raised by this lack of resolution are interesting ones that make me consider what could happen next. To me this is a good sign that the characters have struck a chord. The play could have explored some of these questions, but I enjoy the fact that the audience can create their own imagined version of what happens next. 

Both Caldeiro and Barker are vibrant performers who are natural and engaging throughout the ups and downs of the connection that slowly forms between the two characters. They deliver an enjoyable and thought-provoking piece that raises relatable questions about the nature of friendship, the pain of change and what love and friendship really are, without telling us what the answers to these questions should be. Because sometimes we just need to be prompted to ask ourselves the big questions.

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The stage is set with stacks of apple crates laden with shiny red apples. There are backdrops with painted apple orchards.

As lovely as the painted apple orchards are (the designer, Heather Wright, has done a great job), I would have liked to have seen the stage without these, as I don’t think they are needed. This is a dialogue-driven play where the setting has very little impact, so a clear set without any nods to surroundings would have been great. It might also have helped to enhance the imagination of this place.

However, this might just be a matter of preference, as I do love a clear set unless an item is being used or manipulated during the show. The apples are used, tumbling and littering the stage at different moments, creating a nice soundscape and opportunity for the characters to literally clean up their space.  

We are introduced to Hayley – played thoughtfully by Phoebe Caldeiro – as she talks on the phone to her friend Briar Grant, who does not return Hayley’s admission of devotion. Instead, she tells Hayley she should change her flights for somewhere else, not to see Briar in the USA. Now we see Hayley in the south of France, in an apple orchard, heartbroken and confused.

Hayley’s colleague – played boldly and brightly by Anna Barker – turns out also to be called Briar Grant, also a Gemini. She is a contrast to Hayley’s more shy, soft, introverted nature. She pushes hard for friendship and connection but doesn’t really give Hayley time or space to come to the friendship in her own time. I really like the dynamic of this. The new Briar is overcome with curiosity about the original Briar, and even wants to take her place as Hayley’s most devoted friend.

I can’t help but think that if the core tension for Hayley is with the original Briar Grant, then I would like to see that tension play out. It’s interesting to me, the dynamic between an uneven friendship where one is pining and obsessed and the other is apathetic and self-involved. One has everything handed to her and one is resentful yet sticks around for some of the glow.

For me, that would be really rich territory to explore because the immediate pain of something is more intriguing than the aftermath when the pain is dull and you just have to get through it. The immediate pain/conflict means decisions have to be made, instead of the more cerebral side of reminiscing or analysing.

What would happen if both Briars were in the same room? What would happen if it were Hayley and the original Briar in France together outside of their usual surroundings and Briar doesn’t have her Mum (or Hayley’s Mum!) to bail her out? It’s always a great thing when these kinds of questions come bubbling up for me, it means there is fertile soil!

I don’t think that we need phone calls and conversations with those not on stage to let us know what Hayley is going through. When we see her in the apple field, forlorn and reluctant to talk to this brash and spiky (in a great way!) new colleague, we can see that. I’d love to see how this show could deepen with the first and last scenes taken out, and with more opportunity for Hayley to play with the possibilities with this ‘new Briar’. Likewise with the new Briar, instead of talking to God, I’d love to see how that vulnerable conversation would play out with Hayley.

This isn’t to discredit the play or the playwright, it’s just to reflect my interest in the characters and their dynamics together, to the point that I don’t think they need any other structural devices to help them.

I think there’s really rich territory here, skilled acting and some killer quips. I’d just love to know more!

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