Prodigal Daughter

Author of Monologues and A Walk Through the Life of Shakespeare and Cervantes - both of which had successful seasons this year - Asa Palomera has become something of a powerhouse on Melbourne's independent theatre scene.

In her latest play, Prodigal Daughter, Palomera exhibits the qualities that make her a playwright to watch - a deft evocation of character, a formidable command of dramatic structure, and a willingness to broach disturbing subject matter.

Set in South Korea, the play begins with Mina (Mandi Sebasio-Ong) returning to visit her family after a lifetime in America. Amid mordant exchanges with her mother (Felicity Steel) and younger sister (Kaori Hamamoto) over their cultural differences, Mina is uncomfortably re-introduced to Korean tradition.

But when the family crosses the path of an ageing general (David Dawkins), they must confront the terrible secret that led to Mina being sent abroad as a girl.

The performances vary wildly. As the mother, Felicity Steel is a revelation. Bent double by decades of guilt and suffering, you can feel the arthritis in her soul. Sebasio-Ong as Mina starts shakily, but rallies to master the dramatic challenges of the part.

And as the snaky sister, Kaori Hamamoto ensures much-needed comic respite.

At its best, the production provides some striking theatrical moments. The uneasy rapport between the three women who make up this dysfunctional family is brilliantly captured; the violent past that stalks them breaks onto the stage in a denouement of furious intensity.

It's also visually exciting. Daryl Cordell's set design is a model of versatility and elegance - with a few tweaks it evokes everything from a funeral bier to a Korean public bath. It is complemented by atmospheric lighting and wonderful traditional Korean costumes.

This production is a flawed jewel, but a jewel nonetheless.