The City

Photo - Belinda McClory - The City

Sydney Theatre Company at Wharf 2 present THE CITY by Martin Crimp. Presented by arrangement with the English Stage Company at the Royal Court Theatre.

Maybe written as a companion piece to Mr Crimp’s play THE COUNTRY (2000), THE CITY (2008) concerns a young couple, Clair (Belinda McClory) and Christopher (Colin Moody) living in a city under the contemporary pressures of job insecurity, and the influence of a world full of war, torture and terrorism, of all kinds – close at hand and far away. It reveals a world of the fracturing social block of ‘marriage’ and the residual inheritance that the children are dealing with – unfinished ‘music’.

The play begins ordinarily enough with the husband asking the wife simply “How was your day?” Clair replies and takes us to amazing and disturbing incidents concerning a meeting with a stranger at Waterloo station called Mohammed who tells her of torture he has suffered and the abduction of his child by his sister-in law. Ordinary lives obtruded by the extraordinary. “How was your day?” In a following scene, a neighbour, Jenny (Anita Hegh), a nurse comes to ostensibly complain about the noise of the couple’s children, keeping her awake, an everyday problem possibility, but digresses into the harrowing telling of her husband’s experiences as a doctor in the army in a war zone in the drain pipes of another city. Later, again, we meet Christopher with a little girl (his daughter?) (Georgia Bowery), dressed in a nurse’s uniform identical to that of Jenny, the neighbour, who recites some very ‘blue’ limericks. (Where are the “Henson” police?). In the last scene we meet her again, again, identically dressed as Jenny, in a different outfit, including precipitous pink high, high heels, climbing to a baby grand piano where she attempts to play music. The little girl falters and tries again. And again – unfinished music. Before this final image we learn, Pirandello-like, that none of this is necessarily real. It all may be the creative writing of Clair in her diary as she tries to cope, her profession being that of a translator – she flees to attempting to create her own world. To create a city. To translate her experiences into a fictional order, but the diary finishes as unfinished musing – an unfinished tune. A feeling of desolation, of been unsettled, anxious could be the final take away of this piece.

Benedict Andrews (the Director) and the Set Designer (Ralph Myers) have created a black carpeted proscenium breadth of seven ungainly high steps, which the actors clamber upon with difficulty and unsafely (metaphor, perhaps!!). The lighting by Nick Schlieper dependently warm and comforting and atmospheric, the Sound (Alan John) mostly apparent in lengthy blackouts of urban noise and foot sounds, soothing in identification. The costumes by Fiona Crombie beautifully controlled and telling in their details. The acting style that is demanded by the set design choice is a heightened naturalistic creation that is then warped and delivered mostly out front and at a demanding speed. (The London production some 80-90 minutes in contrast to the 60 odd minutes at Wharf 2.) The character’s interaction with each other is rare and supposed. We, the audience have a reading of the play that is a bit like a staged radio play. (Act one of THE WAR OF THE ROSES!!!!!). In fact if you close your eyes the impact of the play may be much the same with your eyes open. Physically or image wise not much, other than the costume design, is useful. The writing is mostly absorbingly interesting. I am not sure, in this production, whether it is good playwrighting? It is a fairly arid, and event wise, dull evening in the theatre. I feel, having read the play, that I gained no new knowledge by having given an evening at the theatre to experience it again.

The acting by the three adult performers is as good as one expects of these performers within the givens of the directing demands. In fact it is the presence of these actors that mostly drew me to the play. It is the presence of the actors that sustains one’s interest throughout the piece. (Belinda McClory and Colin Moody last year in THE MODERN INTERNATIONAL DEAD and Anita Hegh in KILLER JOE and BEYOND THE NECK gave performances worth savouring.) (NB that the young actor, on the night I attended, was mostly, except for the limericks, inaudible, particularly when facing to the sides. Is there some coaching given to these young people to prepare them for each night? It did not seem very professional or with any real sense of duty of care to the paying audience. “What did she say?” – “I don’t know.” “What?” And on it went.... etc, etc.)

A few years ago, I saw a wonderful production of ATTEMPTS ON HER LIFE by John Sheedy, one of Martin Crimp’s great experiments in theatre and form and was so stimulated that I went several times and took friends. As we left the theatre we were handed cards advertising DEALING WITH CLAIR, another Martin Crimp (a twenty one year old venture, with the major character also called Clair.) up at the Griffin later this month. I’m not sure whether this was wise as there were many unhappy people in the crush to the exit mumbling and grumbling about that “bloody awful play.” In this production of THE CITY we had the experience of a chamber play of little consequence. No-ones life will be the poorer for not having seen it. Read it and you may feel it should have a consequence.

Playing now until August 9th.
For more information or to book click here.

Elling

Photo - Lachy Hulme & Darren Gilshenan - Elling

Sydney Theatre Company in association with the Ambassador Theatre group presents ELLING, based on a novel by Ingvar Ambjornsen. Stage adaptation by Axel Hellstenius in collaboration with Peter Naess. Translated by Nicholas Norris. Adapted by Simon Bent. At Wharf 1.

ELLING, as you can read (above) comes to us through a very numerous set of creative hands: writers, translators and adaptors, (the screen play of the novel, which was the first of three films based on the books, which was nominated for an Oscar for Best Foreign film in 2002, was also an important source of Mr Bent’s contribution). It is a slight, feel good time in the theatre.

It concerns two patients from a mental institution who are placed into the community in government accommodation as a means to “empowerment”. This program, by the Norwegian government, “places great emphasis on those integrated back into society living a normal life, promoting independence, improved living conditions and involvement in everyday life.” Simon Bent, the final adaptor, says “my aim (was) to tread the fine line of tragi-comedy”..... not to ridicule or make figures of fun or “become mawkishly sentimental”. This is true of the play we witness. Mr Bent goes on to say, “It’s a classic double act, Laurel and Hardy, Vladimir and Estragon, the odd couple of the world of social services.” The key comparison in this production would be that between Felix and Oscar in Neil Simon’s classic THE ODD COUPLE. (Hardly, Vladimir or Estragon.)

Directed by Pamela Rabe it is well staged. Scene tempos seem to be fairly similar and the play sometimes flags in maintaining sustained interest, especially in the second half. Some scenes seem to be directed in an isolated way, e.g. the poetry performances, and become tour de force of stand up comedy without real integration to the thematics of the play - satirical gems and hilarious, but do not add much forward thrust in the story telling. Glenn Hazeldine, Frank Whitten and especially Yael Stone, in a series of cameo characterisations, give great support to the two principals.

Darren Gilshenan creates a wonderful characterisation of Ellling with deft comic skills and timing and a clear actor’s insight into the psychological motivations and makeup of the character.It has details from an observation of a life lived outside what we see on the stage. He brings a life-force onto the stage and fills in a back-story with more than competent joy and real physical and vocal skills serving a vision of the man. The history and aspirations of Elling “with his mad precise logic but always glimmer of truth” are clearly present and indelibly drawn. Mr Gilshenan’s Elling is a very moving and gently comic creation.

On the other hand Lachy Hulme as Kjell, although successful in the playing of the scenes moment to moment, lacks real depth. The performance is full of charm and we the audience are seduced in the moment but he never seems to enter the role and fill it out. Mr Hulme seems content with what he says and does, as the writer dictates, with no insight or resource to expand the rest of the character’s life. The narrative developments of the beautiful match box house, equipped with lighting, which Kjell builds, and the fact that he has the mechanical skill to repair a motor car seem to be random ‘miracles’ since the characterisation presented by Mr Hulme has not prepared us for those turns. Sex, mostly masturbatory, and food seem to be Kjell’s only interests. The motor skills or interests of the man are never prepared for. The performance is full of a comics tricks that are clever and rewarding but ultimately shallow. Simon Bent speculates that this couple has the potential to be a classic double like Laurel and Hardy, I would add Abbot and Costello or George Burns and Gracie Fields, but in this case we have only one of the couple (Mr Gilshenan), with the depth of human observation to fill out what makes these other classic pairings immortal. It is a let down and a clue maybe to why this production does not elevate into a wholly successful experience. Why it doesn’t transcend the writing.

The Costume design by Tess Schofield was as usual, inventive and witty. The lighting by Nick Schlieper, subtle in its contribution, as was the sound design by Max Lyandvert (At last, the source of the sound, a radio, being used to be the place of origin for the cue. {see THE DUEL}). The Set design by Michael Scott-Mitchell was relatively subdued (TRAVESTIES) and clever, although, maybe just a little over inventive in the slide box revelations, and expressive of a budget to burn. (Let’s save some money and hire an actor!!!) (Was it really necessary to have such a detailed observation of the urinals, for example? Would an image have been just as affective for these design ideas in the play, contextually.?

If the object of the choice of play was to give the audience a feel good experience this was our experience at the performance I attended, if slightly flawed. If it was to enlighten us about the difficulty of these people’s lives maybe texts by Joe Penhall are more observant and enlightening. Still, what is of especial interest in this production is the pleasure of the quality of work of Darren Gilshenan and worth the cost of the ticket. Otherwise the film is pretty good and cheaper.

Playing now until 18 July.
For more information or to book click here.

Steel Magnolias

A BLACKBIRD PRODUCTION: STEEL MAGNOLIAS by Robert Harling at the Seymour Centre.

“In the haven of Truvy’s beauty salon, six very different women come together to share their secrets and bare their souls, throwing in a little neighbourly gossip for good measure. From weddings to divorces, babies to funerals, new beginnings to happy endings, they weather every event in their lives with grace, determination, and perfectly coiffed hair. When tragedy strikes, it is in the familiar comfort of Truvy’s salon where they seek the solace and support that carries them through.” So goes the synopsis in the program notes. This is a fairly well known play, with a great track record of popularity and then translated to film for a similarly successful response. Mr Harling’s other notable work includes THE FIRST WIVES CLUB, THE EVENING STAR and a hilarious if not quite right satire called SOAPDISH. (All films of a certain genre – I should have taken warning!!!)

I had never seen any of this work’s previous incarnations. I came to it “a virgin”. What drew me to this production was the casting, particularly, the chance to see, with due respect, some of the great “war horses” of theatrical talent of my times in the theatre. Especially Jacki Weaver, Jennifer Hagan and Geraldine Turner. Not only was I excited by the prospect of them individually but as a collective team. I anticipated a rollicking and positively ‘naughty’ time of these three hugely talented and gifted actresses strutting their stuff on stage. I was not disappointed by them. It was the play that they had to work with, that unfortunately, shows its old fashioned ‘creakiness’ at almost every turning point in its narrative structure and plotting of ‘homespun’ humour. Afternoon television at its gentlest and most obvious – writing that is of a by gone time –already!!!! Without these three women on stage the play would hardly have been alive. It demands skill of a very special and seasoned type, Ms Weaver, Hagan and Turner have it in bucket loads. (Chutzpah as well.) Supported by Ana Maria Belo, Marian Frizelle and Debra Lawrance (who was especially good, up until her final scene – it needs centring and stillness, in my estimation.), the performances are the reason to go. I should note that the audience, mostly women, seemed to respond empathetically to the piece and were moved, some of them to a few tears, by the journey of the characters.

The costumes by Claire Moloney are very good support for the delineation of character and their journey through the four scenes of the play’s time structure. The details pertinent and witty. The Direction by Darren Yap is efficient, if not very inventive. All in all, the other production values are similarly pragmatic, useful and right, just not very exciting (–a dinosaur of a set that I thought only a museum would show.)

On reflection, I recently commented that Steve Rodgers’ play, SAVAGE RIVER, at the Griffin Stables was old fashioned, but upon encountering STEEL MAGNOLIAS in 2009 one can see the advance of writing and expectations one has grown used to over the passing of time. It is true of last year’s production of CODGERS out at Riverside as well, where the play was not ground breaking in any of its details but had a contemporary discipline and mode of attention grabbing (it too had a cast of great pedigree well worth the effort to see them strutting their stuff: Ron Falk, Ron Haddrick, Teddy Hodgemen, Henry Szeps, Graham Rouse and Jon Lam.)

STEEL MAGNOLIAS is a gentle commercial piece of theatre well done. The producer’s Suzie Franke & Matthew Henderson of BLACKBIRD PRODUCTIONS have “the invaluable support of Playing Australia and Arts Victoria” that “will ensure that many Australians will” see this play “over the coming six months at 30 venues nationally”. Terrific that it is happening. I hope the targeted audience come in droves. It is, as one of the characters say “women’s territory” but I had pleasure in seeing six women on stage getting the opportunity to strut their skills and their love of performing. SIX WOMEN, how amazing is that.