In The Spare Room, Judy Davis lights up the stage with a singularly vivid performance.

Adapted by Eamon Flack from Helen Garner’s 2008 novel of the same name, Davis plays sharp-tongued Helen (or Hel) to the irrational Nicola (Elizabeth Alexander), who visits seeking alternative treatments for her cancer-ridden body.

But unfortunately, the production does not match Davis’ star performance.

Set and costume, by Mel Page, echo Garner tropes: bed linen, windows, back door onto shared backyard with family as neighbours, curtains, lounge, kitchen, vodka, music, bicycle and miniature pink backpack.

But I’m increasingly unable to suspend belief in stage designs whose purpose is to mimic reality. A curtain is used inconsistently to indicate a change of space. The kitchen table is appropriated for medical professionals’ desks and magician’s table without any change of lighting or further demarcation of space and time.

Kitchens and cooking are important to Garner’s domestic settings. There’s a brief smashing of apricot kernels. Bananas, licorice bullets and lemonade get a mention. But Hel’s chopping of a limp celery comes out of nowhere, and means very little.

If the........

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