[THEATRE REVIEW] WEST GATE @ Southbank Theatre, The Sumner Review (2026)
It happened more than 55 years ago – on 15th October, 1970 – and was Australia’s worst industrial accident.
I speak of the West Gate Bridge collapse.
Thirty-five workers died and 18 were injured.
In fact, due to several issues before the bridge fell – identified in the findings of the subsequent Royal Commission – it was an accident waiting to happen.
The human toll – on the families of those who perished or were hurt, on the injured themselves, and others who witnessed the tragedy – was enormous.
The new MTC production West Gate, written by Dennis McIntosh and directed by Iain Sinclair, superbly captures the lead up and the aftermath.
As the action starts, it was only 10 days earlier that a smaller box girder bridge (the same style as West Gate) had folded in Wales.
And there was talk about the West Gate Bridge not being sound.
The workers had stopped work. The engineers heading up the project were fighting among themselves.
Still, after an authoritative pep talk from a newly appointed engineer, the union rep conducted a vote among the workers and they decided to return to the job.
Nevertheless, corners were still being cut and shoddy workmanship kept being discovered.
Then, the final straw: an attempt to fix a misalignment of two massive steel spans that needed to be joined smacked of desperation and was ill conceived.
The dramatic play West Gate focuses on the interplay between the union rep and several workers, between the workers themselves and that of feuding management.
The greatest attention is given to an experienced welder of Italian heritage named Victor (Steve Bastoni) and his recalcitrant offsider, originally from the UK. He is known as Young Scrapper (Darcy Kent).
The union rep, Pat (Rohan Nichol), is a strong force, effectively given a thankless job, akin to herding cats, but he is up for it.
The workers are a boisterous bunch, full of testosterone and swearing like troopers – several not afraid to speak up.
Management … is divided, hardly what you would like to see on any project, let alone a massive one such as this.
And then there is the attention paid to those left behind after the disaster, as represented by the wife of one who died, Frankie (Daniela Farinacci).
The play, inspired by years of research and the testimonies of survivors and their families, is divided into two halves, the first hour taken up by the build-up.
While remaining a work of fiction, writer McIntosh has crafted a series of strong, imposing characters that immediately resonate.
Director Sinclair ensures there is tension throughout.
All eight performers are outstanding – a showcase of acting of the highest calibre. They let the personalities of their respective argumentative characters shine.
The interplay between Victor and Young Scrapper is among the many highlights.
As much as the actors do, and as well as they do it, the potency of this play is greatly heightened by the background sound, lighting and staging.
The banter of workers, the sparks from welders, the sound of steel and concrete moving, before collapsing are captured by composer and sound designer Kelly Ryall.
The lighting (and deliberate lack thereof upon the bridge collapse) is the haunting domain of Niklas Pajanti.
The costuming by Christina Smith readily distinguishes the workers from the managers.
Beams hydraulically lifted and lowered throughout the production, and twisted girders after the collapse are particularly impactful, again the conceit of Christina Smith.
And the work would not be complete without a moving tribute to the 35 workers who lost their lives.
West Gate is compelling, emotionally wrought theatre at its finest, which I would urge you to experience.
One hundred and five minutes without interval, it is on at Southbank Theatre, The Sumner until 18th April, 2026.
Review by Alex First Photography by Pia Johnson