Melbourne Theatre Company’s interpretation of David Harrower’s Blackbird is a rare bird indeed, not least because the play’s confronting central theme is pedophilia.

In a sad indictment of how prevalent such a topic is in today’s society, it comes as no surprise to learn Harrower’s script was inspired by actual events. Where we are usually reduced to a two-dimensional depiction of pedophilia in the media, Blackbird allows time to look deep into the souls of those involved, the ‘victim’ and the ‘perpetrator’ – revealing more than you ever allow yourself to think about how this situation could arise.

Not one for the faint-hearted, Harrower’s script is essentially a colossal power play between two central characters, Ray (Greg Stone) and Una (Alison Bell), and it’s absolutely gripping. From the second ordinary, middle-aged Ray and pretty young thing Una enter the stark, unforgiving space of Blackbird’s singular set, their relationship is obviously troubled, and as their dialogue progresses the script skillfully feeds us pieces of the complicated puzzle that is Ray and Una’s unmentionable, unthinkable past.

As the ball landed in each character’s court with lengthy monologues, I found it hard to fully define my feelings towards either of them, making the script all the more intriguing; as a society we are meant to feel nothing but hatred and disgust for anyone labeled a pedophile yet Stone’s Ray was not all that. Stone manages to eke out moments of sympathy in Ray that are awkwardly surprising. Bell’s Una appeared increasingly vulnerable and exposed in her intentions for confronting Ray, immediately inviting a more detailed analysis of their relationship.

It was uncomfortable and difficult yet utterly engrossing to watch these two broken people physically and mentally circle around each other, allowing the most fascinating power struggle to play out in front of me. There were several moments in the interaction between Ray and Una that I felt were contrived, almost intentional short releases of energy created to allow the audience to breathe momentarily.

Both Stone and Bell were equally unrelenting in their portrayal of this emotionally uncomfortable tale – in a stage play of such intense nature it was important the two characters were well balanced, and this was the case due to smart casting and clever direction from Peter Evans.

It is a credit to Harrower and an indication of his writing skills that he is able to squeeze snippets of humour into a script that is otherwise focused on the forbidden. His work resonated with me long after I left the theatre, and so it should. An absolute roller coaster of emotion, this production will have you squirming in your seat as the plot consistently twists and turns from start to finish.

The Melbourne Theatre Company has chosen to tackle an extremely sensitive topic in a very responsible way. It will no doubt invite much debate and discussion; surely part of the reason for the company’s decision to stage Harrower’s award-winning work.