Rain Man

In 1988, blockbuster movie Rain Man was blamed for giving the impression all sufferers of autism are primed for effortless casino winnings. The film won critical acclaim and an Oscar for Dustin Hoffman, and became the misguided go-to reference for the condition's associated intellectual wizardry.

Rain Man's stage adaptation premiered to positive reviews on the West End in 2008, publicity no doubt boosted by the casting of Hollywood heartthrob Josh Hartnett. Kirribilli's Ensemble Theatre production stars Alex Dimitriades and Daniel Mitchell and looks set for a successful Australian premiere season.

Charlie Babbitt (Dimitriades), a struggling luxury car dealer, is given new financial hope upon the death of his estranged father. Then he discovers he has an institutionalised autistic brother, Raymond (Daniel Mitchell). Begrudging Raymond's hefty inheritance, Charlie (himself bequeathed an aggravating collection of prize-winning rose bushes) orchestrates an impromptu road trip. Initially a scheme to leverage the division of his brother's newfound fortune, Charlie's self-centred soul is gradually mellowed by his personal emotional discovery.

Mitchell's interpretation of Raymond shows both conscientiousness and creativity, adding personal nuances to the savant persona. While Dimitriades' portrayal of narcissistic Charlie is entertaining, his tone remains one dimensional until the final scene's abrupt resolution. It's true to the film, but Dimitriades' high-pitched berating of his brother unfortunately transfers poorly to the Ensemble's intimate space. Supporting roles are played out competently, but floundering trans-American accent variations fail to enhance the ‘en route' spirit of the story.

Though faithful to the original screenplay, Sandra Bates' direction leans heavily on the story's comedic qualities. Raymond's sensitive condition does not quite elicit the sympathy it perhaps deserves. The absence of the car - the movie's prominent metaphor - is felt all too strongly. Changing locations are illustrated via a giant map backdrop, and would-be driving scenes take place in motel rooms. A few temporal updates maintain the script's currency, but mostly it's directly from the film and often feels transported to the stage rather than translated for it.

With such a well-known cinematic source, it's difficult to appreciate this stage production with fresh eyes. Nonetheless, Rain Man remains an endearing tale of brotherly bonding, punctuated cleverly with both sadness and humour. Alecia Wood