Review: The Revisionist

**Picture (L to R):** Maria (Alexis Beebe), David (Christopher Batkin) and Zenon (Justin Ryan). *Image credit: Creative Futures Photography.*

A Midnight Social’s promotion of The Revisionist includes a poster with the statement ‘art can illuminate,’ and as question as to ‘which side are you on.’ Jesse Eisenberg’s The Revisionist certainly presents audiences with two very different characters.

Sometimes, as a writer, you need to get away to gain perspective and to focus on any revisions you might need to make to your work. David (Christopher Batkin) decides he really needs to get away from America, so where else but to Poland to see his ‘grandfather’s cousin,’ Maria (Alexis Beebe). Maria lives on her own—with the help of friends such as the vodka-swilling taxi-driver, Zenon (Justin Ryan)—but she is happy to welcome her visiting relative to her small apartment, cooking a special meal and planning things they might do together during his visit.

The differences between the two leading characters are quickly apparent. David is an anxious, self-absorbed, self-medicating writer who is desperate to deliver a successful novel to his publisher. Ironically, the provisional title for his new (science fiction) social commentary is Mind Reader—but David seems to be completely disinterested in the lives of his extended family, doesn’t want to see anything of the city, and doesn’t seem to pay much attention to world events.

In complete contrast, Maria is a holocaust survivor—from a different continent, and generation. When not shopping for food, or volunteering at the local library, Maria spends much of her time anxiously watching the news for information about world conflicts and answering the telephone to frequent cold callers. Her apartment is filled with treasured photographs of the American relatives, and she follows their lives with interest (including framing a New York Times’ review of David’s first book). Living on her own, with no close family or children, Maria relies on Zenon, who helps with her shopping, changes lightbulbs, and treats her as a substitute following the death of his own mother.

It was a privilege to see the preview performance of The Revisionist at PIP Theatre this week. Wayne McPhee (Director) has brought together an impressive cast. Batkin is excellent as the obnoxious David, who might not last one night if he turned up on my doorstep. As I don’t speak Polish, I can’t comment on Ryan’s pronunciation, but was impressed by Ryan’s portrayal of the man of few words (and very little English). However, the standout performance is that of the leading lady. Beebe has excellent comic timing (that lovely ‘you are funny?’ line), but can equally deliver a chilling rebuff or direct clarification in a way that causes the audience to gasp. A falling pin would have been heard to hit the ground after Beebe’s quiet delivery of the ‘not lost; died’ line.

The ambiguous ending of the play left me feeling a little confused and disappointed. However, I recommend the A Midnight Social production of Jesse Eisenberg’s The Revisionist as an opportunity to see three strong performers. Like me, you may come away feeling that you’d never like to meet someone like David, and that the playwright could perhaps have made several revisions to this work. However, I also hope you come away thinking about ‘the Polish joke,’ and the human will to survive. The Revisionist has some very amusing moments, but my take out is that this is ultimately a play about the importance of not forgetting key moments in history, and the need to resolve current wars in a way that ensures future generations do not have to live through conflict, or subjugation. Which makes The Revisionist a timely production to include in the PIP Theatre 2026 program.

Catherine Lawrence

**Picture**: Photographs. *Image Credit: Creative Futures Photography*

Audience information: The Revisionist, Studio Theatre at PIP Theatre, 20 Park Road, Milton QLD 4064 (3-13 June 2026). Adult themes, including references to the Holocaust and to death, with themes of grief, loss, and survivor’s guilt, and depictions of drug use. 16+ suggested. 105 minutes (no interval). Tickets $30-37, plus $3.30 booking fee.

Produced by A Midnight Social as a Co-Production with PIP Theatre. Additional credits: Izabela Wasilewska (Assistant Director), and Brigitte Thamm (Production Designer, and Stage Manager).

The reviewer attended the 3 June 2026, 6:30pm preview.

Geoff Lawrence