"The work of Ruth Fingret could be performed in a cardboard box and it would make an audience feel something".
Grungechildren 2017
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CRAIG: 45+, caseworker with Australian Immigration, father, husband, at a moral crossroad
HAJIR: mid 20s, Lebanese asylum seeker, desperate to start a new life at any cost
JASON: early 20s, Craig’s son, troubled and now in some trouble with the police.
VICKI: 45+, Craig’s wife, a recurring destabilising force in his life.
CHRISTINE: mid 20s, the rookie police officer caught in the middle of a difficult family dynamic.
ASYLUM examines the complex dynamics of Craig’s family, an immigration officer torn between his duty and his love for his child. He faces a moral dilemma as he decides the fate of a young refugee while grappling with his own son’s troubles.
The story begins with Craig interviewing Hajir, a young refugee from Lebanon. Concurrently, Craig’s son, Jason, is being questioned by the police as a suspect in an assault case. As events unfold, Craig’s estranged wife, Vicki, who has been mentally unwell, reappears after a three-year absence, adding to the family turmoil.
Raising Jason as a single father for fifteen years has been challenging, and Jason’s arrest feels like the breaking point for Craig. He contemplates whether it is time for Jason to face the consequences of his actions. Vicki, for whom Craig harbors cautious and conflicted feelings, pressures him to do more to help their son. Jason, aware of the gravity of his situation, pleads for his father’s assistance.
As Hajir shares his harrowing experiences of escaping the horrors of Lebanon, Craig struggles to reconcile this with his son’s self-destructive choices. Although both young men are of similar ages, their circumstances are starkly different: one fleeing a war-torn homeland, the other seemingly squandering his life.
Craig suspects both Jason and Hajir are concealing the truth to protect themselves. While he empathizes with their reasons, he finds it hard to accept their deceit. This internal conflict intensifies with further arguments with Vicki, leading to her isolation and eventual suicide.
Jason’s revelations shed light on the depth of his struggles, including coping with ADHD, a bipolar mother, and feeling constantly judged by his father. Meanwhile, Hajir implores Craig to overlook his deceit and grant him asylum in Australia.
Craig is ultimately faced with a profound choice: should he extend compassion and support to these two young men despite their dishonesty, or remain steadfast to the principles of truth and duty that have guided his life? ASYLUM is a poignant exploration of moral complexity, familial bonds, and the challenging intersections of personal and professional life.
The creative journey for ASYLUM was ignited by two encounters with different men over the course of three weeks. The first was a man I met who worked within the Australian Immigration system. He shared his insights into the relentless efforts of immigration officers to discern the authenticity of asylum seekers’ accounts amidst the flux of truth and fabrication. The second was a father whose son had recently been arrested. He looked beaten and told me he was fed up bailing him out and had decided that this time he was leaving him to fight on his own.
Australia was in the thrall of the Stop the Boats campaign and I imagined what it would be like for an immigration officer charged with deciding on the freedom of another while his own son was facing potential incarceration. As I wrote the play it prompted reflection on the sanctity of refuge and the places, real or imaginary, we seek solace in times of adversity. Where do we go to hide? As the focus widens from the asylum seeker’s story to encompass the entire family dynamic of the man who will decide his fate, Asylum explores the complexity and similarity of their intertwined struggles and the profound impact of each character’s decisions on one another.
When Ruth Fingret approached me in 2022 to direct ASYLUM, I eagerly accepted the opportunity. After the first scene, I was captivated. From that point onward, my mind was abuzz with ideas for realizing the essence of this remarkable production. My enthusiasm for directing ASYLUM was fuelled by a profound appreciation for the play itself, Ruth’s masterful writing, and the rich complexity of its characters.
ASYLUM delves into a multitude of themes, including mental health, integrity, and interpersonal detachment. This intricately woven narrative unfolds through the lens of various characters, each grappling with their own dilemmas. The script, crafted with finesse, propels events and characters forward with a riveting pace, presenting contrasting yet compelling storylines.
Despite their flaws, I couldn’t help but empathize with each character as they navigate through difficult decisions, driven by the instinct to safeguard themselves and their loved ones.
ASYLUM emerges as a thought-provoking masterpiece, inviting audiences to reflect deeply and, above all, to experience a range of emotions.
Images by Renee Nowytarger
Eli Saad as Hajir
Chris Miller as Craig
Levi Kenway as Jason
Dianne Weller as Vikki
Emma Burns as Christine
Ruth Fingret Writer / Producer through Platform Productions
Olga Tamara Director and set designer
Mehran Mortezaei Lighting Design
Greg Skehill Score
Supported by Ian Cooke
ASYLUM includes coarse language and loud noises and contains themes of violence, suicide and domestic abuse. Not recommended for children under 15 years of age.
75 Minutes
"Director Olga Tamara has done a wonderful job bringing together this production. It’s clear that she spent a lot of time, focusing on the dynamics and how it propels the story and the ideas forward. "
Images by David Hooley
Eli Saad as Hajir
David Woodland as Craig
Joshua MacElroy as Jason
Katherine Shearer as Vikki
Hannah Raven as Christine
Director Richard Hiliar
Producers Brave New Word