Bakehouse Theatre, 255 Angas Street (corner Cardwell Street)
Reviewed Friday March 5th 2010 (See Fringe guide for dates, times, etc.)
Presented by Bakehouse Theatre and the National Institute of Dramatic Art (NIDA).
http://www.adelaidefringe.com.au or 1300 FRINGE (374 643)
http://www.nida.edu.au
Bookings: Fringetix & Venuetix outlets
Three of NIDA’s 2009 graduate directors each have taken a one act play and have involved NIDA’s designers, actors and production students in creating these works, currently being presented at the Bakehouse. Sex is a common theme for these works, but it manifests itself more in sexual politics and power play than in the physical act.
The first to be presented was based on Medea Material, written in the former East Germany by Heiner Müller (1929-1995), in the translation by Carl Weber, directed by Kat Henry. Jason (David Berry) has shifted his affections from his wife, Medea (Emma Dean), whom he promised to marry if she helped him acquire the Golden Fleece. Medea’s brother was killed in their escape and she reminds Jason of this, to which he reminds her that he has given her two children. Jason is now enamoured by the young Princess MoMo (Lia Reutens). MoMo seems to be a replacement for Glauce, daughter of King Creon, from the original mythology by Euripides. Here, as in that version, Medea takes her revenge by providing MoMo with a poisoned wedding dress. This time it kills her and Jason, although in the original version it kills Glauce and Creon.
Verkommenes Ufer Medeamaterial Landschaft mit Argonauten (Despoiled Shore Medea Material Landscape with Argonauts) to give the work its full title, is typical of Müller’s poetic, fragmentary style. The rich text provides both director and actors with an opportunity to explore a myriad ways of presenting the play. The desolation here is the seating of the theatre with black and yellow police tapes barring access, the audience standing in the same stage area as the actors. Televisions, blocking the aisle, show images of the play as it happens and a looping video of aircraft departing. Jamie Cranney’s design works well in turning the expected norms around. Princess MoMo seems to be a roller skating pole dancer at some dubious club for ‘gentlemen’, Jason could, perhaps, be an advertisement model and Medea is possibly a nightclub singer, but there is much ambiguity and the audience may make its own decisions. Strong performances, with a high degree of physicality, bring forth the tragedy, yet with a sense of absurd comedy lurking below the surface. Power, conflict and murderous revenge are at the core of this exciting, powerful, carefully crafted, yet often introspective work. This was a terrifically inventive start to the evening.
Next came Motel, written by Melbourne based writer, Angela Betzien, and directed by Paige Rattray. Jasmine Christie’s design places the action in, on and around the double bed for most of the play. It represents two motel rooms along the hall from one another. Social worker, Anni (Julie Billington), brings a child at risk, Grace (Shari Sebbens), to stay the night in her protective care in one room. Policeman, Stephen (Meyne Wyatt), and his pregnant wife, Emma (Tami Sussman), are down the hall, staying overnight after his best friend’s wedding. An unnamed woman’s (Anca Frankenhaeuser) spirit hangs around in the room, silently seeking company to go with her, before she passes over to the other side.
Strong performances from all of the performers and thoroughly developed characterisations, with constantly varied emotional journeys as relationships changed being clearly displayed, made this a rewarding experience.
Finally we were presented with an elaborate kitchen set, designed by Charlotte Lane, as South Australia’s own Netta Yashchin directed Through the Leaves (Request Concert Durch die Blaetter) by former West German writer, Franz Xaver Kroetz (b. 1946-). Martina (Ashley Ricardo) is entertaining her new lover, Otto (Laurence Brewer), in her tripe butcher’s shop, but her German Shepherd, Rolfi (Benedict Samuel in a role added for this production), is jealous of Otto’s attentions. We discover, as the play progresses, that Martina and Rolfi have possibly enjoyed a very close relationship. The play has been adapted a little as it was originally written for older actors, Martina being in her early fifties and wondering if love is still possible.
Otto is boorish and is only interested in casual sexual encounters with Martina whenever he feels the need, but she hopes for a permanent relationship and is willing to go to any lengths to try to achieve that goal, in the face of all of the obvious signs that it will never happen. In spite of their frequent energetic physical encounters this play is more about the conflict and difference between them than any links that bind them. Her blind optimism continues unabated to the bitter end, even though he continually berates her and tries to gain superiority over her. This is a tightly directed piece from Yashchin making good use of the set, bringing out a wide range of actions and responses from the three excellent actors and discovering a great deal of black comedy in the script. The performances of Ricardo and Brewer were well-conceived and wonderfully executed to bring out all of the nuances, showing us these lonely people constantly repeating their self-destructive life-scripts, and Samuel’s Rolfi, the over-sexed and over-protective dog, was a scream.
Not surprisingly, given that all involved were trained at NIDA, this was an evening of exceptionally high standard and thought provoking work that will linger in the memory for a long time.
Reviewed by Barry Lenny, GLAM Adelaide Arts Editor.
More News
