ART – the play – manages to be everything the piece of visual art at its centre is not.

Born 32 years ago on the French stage, it is a living work reflecting universal truths and humanity with a visceral potency that remains both contemporary and classic.

The defining genius of Yasmina Reza’s acutely observed play is comedy as catharsis – a gift to actors and audiences alike who have seen the one-act three-hander translated into 30 languages and awarded an Olivier and Tony.

What starts off as a trifling divergence among middle-aged male friends is a catalyst for deconstructing everything (this, a joke in itself) – from how the trio see each other and themselves, to the world and their place in it.

This Australian production marking the 30th anniversary of Christopher Hampton’s English adaptation delivers all it promises. Deftly arranging a diverse palette of humour into an unpredictable portrait of continual laughs framed in poetic profundity, it’s a 90-minute escape from life outside that also leaves you with something to ponder – if you wish.

The play’s success relies on how the actors and their characters play off each other

You might like

Review

Less is more: A Greek tragedy for the modern era

Review

Gatsby gets the green light

In the vein of curated artwork exhibitions, from the outset ART’s casting has showcased drawcard actors who clearly revel in exploring the play’s creative range, its brilliant text providing a springboard to soar.

You might like

Review

Less is more: A Greek tragedy for the modern era

Review

Gatsby gets the green light

Richard Roxburgh’s name alone would put masses of bums on seats, especially after a nine-year absence from live theatre anywhere and a staggering 33 years away from Brisbane.

But this is an ensemble piece based on interpersonal dynamics and balance. The play’s success relies on how the actors, and their characters, play off each other.

Beyond fitting the bill as accomplished, award-winning and popular multi-discipline performers, Damon Herriman and Toby Schmitz seize their opportunity to shine as brightly as legend Roxburgh.

One suspects director Lee Lewis only had to keep her players from straying outside the lines. Whatever the weight of her hand, it has maximised all of ART’s potential.

As expected, Roxburgh is in his element as antagonist Marc, finessing his lion’s share of eviscerating comments and comebacks (sharing familiar territory with the actor’s Rake screen persona). But it’s his inventive physical comedy that I found especially hilarious.

While the purchase of a predominantly white modern painting for an extravagant price by Herriman’s character Serge provides ART’s catalyst, he spends much of the play as a foil for Marc, before the pair unleash a shared perspective on less-rigid peacekeeper Yvan (Schmitz), who wants to maintain the neutrality of his identity as the group’s joker.

It’s a slow build for Herriman, who makes Serge’s ultimate no-holds-barred unmasking as funny as it is surprising. Even in the wild extremes of Serge’s character, though, the understated vulnerability that Herriman is known for remains present.

After replacing the advertised Ryan Corr with just two weeks’ rehearsal, Schmitz’s characterisation is an equally revelatory and impressive achievement. That’s exemplified in his masterful delivery of a stream-of-consciousness four-and-a-half-minute monologue that brings the house down. His physicality and energy level match the balance that the unconventional, internally focussed Yvan provides between the two A-type personalities. If you saw the actor as the manipulative husband in the hit 2024 Queensland Theatre production of Gaslight, you’ll marvel at Schmitz’s range.

While vestiges of ART’s French origins are evident in the play’s archetypes, these brilliant actors ensure that we can see a relatable Aussie bloke in each of them – their foibles, follies, frailties, frustrations and, finally, how they resolve their differences as friends.

That is a theme that resonates more now than 30 years ago. Audience members will laugh at and empathise with different aspects of ART – which juxtaposes broad brushstrokes with fine detail providing nuance and depth – depending on their own perspective.

First and foremost, ART is a rare opportunity to be thoroughly entertained and enjoy artists at the top of their game. Just as importantly, though, it reminds us that we all want to be heard, and it’s still okay to agree to disagree – who knows, it might actually work out for the better.

ART plays the Playhouse, QPAC, until March 22. 

qpac.com.au/whats-on/2026/art