Arts

Theatre Review: The Suicide

Another brilliant production from Red Phoenix now playing at Holden Street Theatres

Presented by: Red Phoenix Theatre and Holden Street Theatres
Reviewed: 24 May, 2023

Nikolai Erdman wrote The Suicide in 1928; it is a social satire based on Russian life at the time and is a bitingly satirical, very funny and thought provoking piece of work. Brant Eustice has milked every moment out of the text and added some very well placed musical commentary to assist the journey and support the message of this very well written piece of Russian theatre. 

Considered to be a masterpiece of Russian theatre, the play has a chequered past. Erdman was taken under the wing of Meyerhold who attempted to stage the play twice and twice got shut down by Stalin as it fearlessly criticised Russian society under the communist regime and railed against the voice of the individual being lost in the voice of the masses. It is a fascinating piece of writing that is filled with symbolism, imagery and a not very veiled criticism of the state.

Joshua Coldwell as the main character, Semyon leads this talented cast flawlessly in a charge headlong into the fray that ensues when he decides that suicide is the answer to his challenges in life. The state, the local population and all and sundry jump on the bandwagon to gain all they can from his decision. It’s a tour-de-force of a performance. Maria his wife ably, and very straightly, played by Bobbie Viney and Serafima his Mother in law played with theatrical gusto by Sharon Malujlo, are the rock on which the beginning of the play hinges. Despite the sluggish response from the audience not quite in tune with a Russian tragi/comedy, they engaged and moved the story forward with great energy. Geoff Revell as Alexander brought his great comic/dramatic ability home to roost and ably assisted by Kate Anolak bounced us along very nicely. Michael Eustice’s Aristarch lived up to his first line of “Am I disturbing you” the answer was yes as his character manipulated and twisted the plot with humour and ease. Nicole Rutty threatened to steal the show with Cleopatra; some of her antics had the audience, particularly the gentleman in the front row, on the edge of their seats. Downright hysterical performance! Tom Tassone’s postman should ring twice, Samuel Creighton’s Viktor was flamboyantly amusing. Ron Hoenig’s Pugachov a bloody mess, Russell Slater’s Father Elpidi just creepy enough, Ruby Faith’s Raissa just the right amount of tart sassy, Georgia Stockham’s Old Woman had the voice of death, Callum Logan’s characters pitched just right (especially that waiter who drank more vodka than the rest of the cast put together). David Lockwood’s cameos were as always filled with tongue–in-cheek fun. Jess Corrie made the most of Groonya, her nurse was very funny and Malcolm Walton, as ever reliable and very entertaining, I particularly liked his silent secret policeman.

Kate Prescott’s set is a great representation of the symbolism Meyerhold injected into his work. Richard Parkhill’s lighting as always added to the charm and storyline of the work. Lisa Lanzi’s costume designs were period perfect and Sean Smith and Brant Eustice have compiled music that bridges the divide and is fun enough to raise everything from a wry smile to a laugh-out-loud guffaw for its audacity.

This is another Red Phoenix work that allows us to look at work that has never hit the Adelaide stage before. It is a brilliant piece of writing and the mixture of the Meyerhold symbolic approach as opposed to the Stanislavski realism approach is a real lesson in how theatre progressed through the approach of two giants of modern theatre in the early part of the twentieth century.

It’s a very interesting and very funny piece of work that will, as always, entertain a discerning Adelaide audience.

Reviewed by Adrian Barnes

Photo credit: Richard Parkhill

Content Warning: This production explores the theme of suicide, which some people may find distressing. If you are in crisis, there is support available. Lifeline Australia – 13 11 14

Venue: The Studio – Holden Street Theatres, 34 Holden Street, Hindmarsh
Season: 25 May 2023-3 June 2023
Duration: 140 minutes
Tickets: Adult: $24.75. Conc: $18.75. Group: (6+) $20.75
Bookings: https://holdenstreettheatres.online.red61.com.au/event/890:8/

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