Cost of Living
Theatre serves as a platform for portraying life stories. However, many real-life stories are often considered too complex to be presented on stage. However, the 2018 Pulitzer Prize-winning play The Cost of Living, directed by Anthea Williams and performed by the Melbourne Theatre Company, focuses on the intricate and interconnected experiences of disability, caregiving, and of course, the cost of living.
As the stage revolves, the contrast between affluence and living on disability payments becomes incredibly evident through the story of Eddie ( Aaron Pedersen) and Ani (Rachel Edmonds). Ani lives in a small, cramped space, which Eddie calls a "paper bag" when he visits to tell her he misses her. The accident that caused her paralysis occurred while they were technically separated, and Ani, clinging to her independence, is still determined to get a divorce. When Ani's nurse doesn't show up to help feed her, Eddie is called as her emergency contact. He convinces Ani to let him try being her caregiver despite their fractured marriage, even if it's just for a week.
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The Melbourne Theatre Company deserves congratulations for showcasing a play that addresses the challenges of living with a disability and the influence of wealth on disability care. These are often unfamiliar and confronting topics for many people without disabilities. Furthermore, the inclusion of disabled individuals and caregivers in both the cast and directorial team ensured the authenticity of the characters due to the lived experience of so many of the creatives involved.
One of the most impactful scenes of the show involved of Li shaving, showering, dressing and transferring Pizzey Stratford, just as many real carers do daily. All live on stage, in front of an audience, without any music underscoring the scene, just conversation between Li and Pizzey Stratford. While this is such a mundane task, the energy in the audience felt almost shocking that this was being done on stage.
Ani is still resentful and “pissed” about the accident and takes it out on Eddie. Edmonds is outstanding in this role, using just their facial expression and voice to express the full range of anger, grief, resentment, and even a little bit of joy. Edmonds also repeatedly had the audience laughing, calling Eddie a “prick” after each nice thing they said about him in the tender moment of Pedersen bathing them.
Thanks to Amy Cater's intimacy coordination, the raw, intimate moments in both storylines felt natural and real. The bathing scene between Ani and Eddie especially walks the line between consent and caregiver abuse, because how could Ani consent to something that she couldn’t feel or know was happening? Even if they were married before Ani’s accident, as she says, it's a new body and a new me. However, this entire scene was handled beautifully by both Edmonds and Pedersen.
The set design by Matilda Woodroofe was beautiful, featuring three different sets on a revolve. The opulence of John’s character was evident, as his bathroom alone occupied the same space as Ani’s entire apartment. Two of the three sets were dedicated to John’s extravagant and modified apartment, complete with elegant furnishings, an elevator at his doorstep, and sliding doors leading into his bathroom. In contrast, Ani’s small apartment was visibly deteriorating, with walls starting to come away from the frame in some places and poorly done insulation exposed for the audience to see.
Richard Vabre's use of very naturalistic lighting gave the play a lifelike feel, making it seem like we were observing real life unfold. These were genuine stories that play out in the real world every day because they are.
The Cost of Living delves into the topic of disability, but it's ultimately about much more. It explores the essential needs of humans for survival, encompassing not only the financial aspect but also the emotional and physical toll of existence. Both Ani and John express their desire to be seen beyond their disabilities by stating, “Don’t interrupt me!” to their scene partner in their initial meeting. However, The Cost of Living reveals that all four characters share emotional needs and vulnerabilities, as they reach out in search of connection in this lonely world.
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Image by Pia Johnson
The Cost of Living is an extraordinary show that handles disability with the love and respect that it deserves, and if you can get to see it, you should. Hopefully, this is the first step toward having more disabled people in the theatre industry and on our Australian stages, not just in shows that are centred around disability.
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Cost of Living is on until the 19th October at Melbourne Theatre Company
Get Tickets Here
