Venue: Blood Moon Theatre (Potts Point NSW), Nov 23 – Dec 3, 2016
Playwright: Gina Schien
Director: Goldele Rayment
Cast: Graeme Rhodes
Image by Chrissie Ianssen
The Gent awakes in 1972 after a deep slumber. The Edwardian era is now long gone, but there is unfinished business still to be taken care of. He returns to this mortal coil, to find resolution, as a ghost and as guardian angel to a certain Morgan Stern, who faces a set of problems not unlike the ones our Gent had had to deal with, when taking care of his own daughter, back in those less than halcyon days. It was early 19th Century when he last found himself in these challenging circumstances, and it appears very little has changed after two hundred years.
Complex and incredibly rich, Gina Schien’s imaginative writing offers extraordinary insight into the human condition and the glitches in our lives that so often surprise and derail. The language is beautiful, with sensitive attention paid to rhythms and imagery that makes the play an involving one. Dramatic tension can sometimes be lost in its poetic approach, but director Goldele Rayment’s manipulations of atmosphere and spacial configurations are cleverly calibrated, with only one actor and one swivel chair sustaining our concentration. Tegan Nicholls’ work on sound and Roderick van Gelder’s lights are both noteworthy in their efforts to transform and transport our consciousness through the production’s mystical qualities.
Graeme Rhodes delivers an astonishing performance for the one man show, completely captivating with a presence full of conviction and a mental focus impressive with its precision. His voice and physicality are both commanding, both exactingly channelled in each of the play’s sequences, to impart meaning and enthralment. We are amazed by the way his memory is able to contain so much text, seemingly effortlessly, but more importantly, his airtight authority over the material’s depths and expanses, and his ability to exercise inventiveness along with elucidating the writing’s trickier ideas, have us flummoxed, in awe.
When art talks about reality, it does so differently from science. Morgan Stern is about contradictory realities, and how it is necessary for us to be able to encompass things that are not subjectively logical into existence. The world is infinite, in scale and in possibilities, and much as we think that the stuff we know is all there is, art will tell us that the opposite is true. The stuff we know, and the stuff that is knowable, will always and forever be infinitesimal, and every life must count, however inconvenient the other may be.