Lauren Gunderson is one of the US’s most acclaimed and most produced playwrights. She has written over 20 plays, many of which are in constant circulation in theatrical repertoires across the globe. Her dialogue is crisp and witty, and her characters are predominantly strong, influential women – frequently based on historical figures. The Half-Life of Marie Curie is a perfect example, not only of Gunderson’s penchant for powerful female characters, but also her fascination with science, literature, politics, social norms and relationships.
This two-hander revolves (almost literally, given the stage design) around unlikely pioneers in science: Marie Curie and Hertha Ayrton. Unlikely, not because they lacked talent or intelligence, but because they were women at a time when misogyny informed law and culture.
Curie was the first woman to win a Nobel prize and the only person to win two Nobel prizes. Along with husband, Pierre, she discovered the elements radium and polonium, and developed the theory of radioactivity.
Ayrton was an English mathematician, physicist and inventor, renowned for her study of electric arcs and ripple marks in sand and water.
She is someone who may be less familiar to audiences, but they will love her like an old friend after seeing this play.
The story begins at a turbulent time in Curie’s life. Her husband has been dead for some years, killed prematurely in a road accident. She still grieves his loss terribly, but has also fallen in love with another scientist, Paul Langevin, who is married with children. It is an international scandal.
We follow Curie through her torment as she is hounded by media, shut out of scientific circles and shunned by society. Her only true friend, it seems, is Hertha; thankfully, she is a one-woman hen’s party!
Rebecca Massey is a sheer delight as Hertha. She lands every one-liner beautifully and is absolutely radiant (excuse the pun) throughout the performance.
Gabrielle Scawthorn’s Marie is diametrically opposite Hertha: she is morbid, highly-strung, fatalistic. In fact, she’s not really very likeable (though this is no reflection on Scawthorn’s excellent portrayal).
The set by James Browne is very simple: a round perspex platform on which the actors mostly perform, occasionally moving onto the floor or auditorium stairs. A grey semi-transparent curtain hangs from a circular rod, and is pulled around the stage (a bit like a hospital ward curtain) then back as needed to create different moods and location effects.
This is supported by Verity Hampson’s lighting design, which incorporates reflections onto the curtain and bulbs beneath the perspex stage.
Original music and sound design by Daniel Herten work wonderfully to underscore the sentiment on stage.
Liesel Badorrek’s direction allows each actor to play to their respective strengths while working symbiotically with each other. The two performers/characters have a lovely synergy, yin and yanging their larger-than-life personas.
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The Half-Life of Marie Curie is a great opportunity to see two commensurate artists deliver a terrific script about two incredible women.
The Half-Life of Marie Curie, Ensemble Theatre
Writer: Lauren Gunderson
Director: Liesel Badorrek
Production Concept: Anthea Williams
Stage and Costume Designer: James Browne
Lighting Designer: Verity Hampson
Composer and Sound Designer: Daniel Herten
Video Designer: Cameron Smith
Dialect Coach: Linda Nicholls-Gidley
Movement Coach: Gavin Robins
Stage Manager: Bella Kerdijk
Assistant Stage Manager: Maddison Craven
Costume Supervisor: Lily Mateljan
Cast: Rebecca Massey and Gabrielle Scawthorn
The Half-Life of Marie Curie will be performed at Ensemble Theatre, 78 McDougall Street
Kirribilli NSW until 12 July 2025.
