The United States Of Nothing

Floundering neck high in troubles of the world, the United States can't seem to handle problems right in their own backyard.


Grabbing onto the US administration and ripping it hard against the grain, The United States of Nothing looks at the ineptitude of the world leader in tending to matters on its own soil. Through the lacking efforts in the wake of Hurricane Katrina, writer/director Stephen Sewell firmly has his sights locked on and ready to blast away.

The Nortons, led by gun-toting patriarch Chip (Roy Billing), mother Jackie (Amelia Cormack) and kids Randy (Kristian Schmid) and Ashley (Katrina Foster), are a white family caught in the madness of an emergency. In the rush to evacuate the path of an oncoming hurricane, they find themselves taking shelter in the nearby football stadium and the crucible made therein.

Rushing the blood with a scent of vigour, the performances are clear in their delivery. Chip and Jackie explore each other's mind and motivations throughout the course of the night leading to the reasons behind their predicament. Though it's more of a doctor/patient role with Chip ever reluctant on face while holding things largely together.

The relationship between Randy and Ashley is less than explored. They spend most of the time off stage and at times seem forgotten in the whole scheme of things. What is seen of them is playful and wide eyed, especially when on the toke or sorting out the emergency rations. Even against the oft-times annoying inflections of tongue from Cormack, the accents are otherwise American with outright caricature on a hush.

Converting the confines of the Stables Theatre into the middle of a football field is well done and makes fine use of perspectives to achieve the look.

Production stands idly by in sheer agony as the entire flow grinds to a halt. Monologues cut through and deliver a pause in the moment of the characters. On the aftermath of the internal reflections, the need is there. Perhaps. Execution is sadly far from kind and leaves a gasping need for smoothness.

Nowhere is Sewell more boldfaced and direct in his views and commentary of the situation than in the last scene of the play. Set with an otherwise exclusionary feel from the adoption of the conceit, the stand off is revelatory and finely summarises the madness, chaos and unknowing of the whole ordeal.

There are few chances to break out with the laughs. More is on the absurdity in the situation at hand.

:: The United States of Nothing is playing at the SBW Stables Theatre in Sydney until 4 February, 2006.

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Published January 2006 at The Program - NSW Stage reviews

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