David Williamson bows out: death a choice pick as a final act

David Williamson knew he ­wanted a strong subject for his final play to mark the end of a ­remarkable 50-year career.

Megan Drury and John Wood star David Williamson's latest, and last, play Crunch Time at Sydney’s Ensemble Theatre. Picture: Adam Yip

David Williamson knew he ­wanted a strong subject for his final play to mark the end of a ­remarkable 50-year career. He chose one that makes him particularly angry: voluntary assisted dying.

As the fallout continues over Victoria’s VAD legalisation ­Williamson’s new play, Crunch Time, set and staged in Sydney, deals with the issue head on.

“It came from a general feeling of anger,” Williamson says from his home on Queensland’s Sunshine Coast. “There are a couple of enlightened states, Victoria and WA, that are on side with public opinion. But (despite) public opinion being overwhelmingly on the side of VAD, we seem to be blocked in NSW in ever achieving this by fairly hardline Christians who seem to hold sway in the government. It’s anti-democratic, it’s denying the will of the people.”

Crunch Time opened at the Ensemble Theatre this week and is a darkly comic satire exploring sibling rivalry and parental favouritism, and examines VAD when the play’s protagonist Steve is diagnosed with incurable pancreatic cancer and seeks to end his life with dignity.

Williamson says he has witnessed the undeniable agony of a disease like pancreatic cancer after a close friend recently died from it. “I was angry to see that, it’s horrible, a very bad way to die,” he says. “To see someone wasting away and becoming ­almost unrecognisable is a terrible loss of human dignity.”

Williamson’s long-time colleague John Wood plays Steve and believes Crunch Time’s subject matter is crucial. “It’s a basic human right to do what you need to, to get yourself through that terrible time that confronts so many people,” he says.

“I’ve always believed if somebody wants to (end their life) that’s up to them … I don’t see why politicians or church leaders feel they have the right to make somebody suffer excruciating pain instead of being allowed to finish it.”

Fighting Season and Underbelly actress Megan Drury plays Steve’s daughter-in-law, psychologist Susy. She says while it was uncomfortable rehearsing such a confronting subject, it is vital that art explores topics like these.

“Through theatre, these ideas can be examined in ways that allow people to immerse themselves in a story or situation in an emotive and thought-provoking way,” she says, adding: “I do ­believe (VAD) is a right people should have access to.”

Williamson is satisfied his final work deals with such a serious topic. “I wanted to go out on a strong play,” he says. “I’ve had a dream run as a dramatist, 55 plays performed. I hope I’ve made a contribution and can bow out gracefully.”

Crunch Time is showing at the Ensemble Theatre, Sydney, until April 9