Venue: Kings Cross Theatre (Kings Cross NSW), May 5 – 27, 2017
Playwright: Melita Rowston
Director: Anthony Skuse
Cast: Joanna Downing, Ben McIvor, Lucy Miller, Suzanne Pereira, Lani Tupu
Image by Clare Hawley
Talent is a thing of mystery, and one of its elusive qualities surrounds the faith that an artist should have in their own abilities. In Melita Rowston’s Between The Streetlight And The Moon, we examine the ways in which painters are able to find a sense of belief in themselves, or more accurately, how their spirits can be dampened, by longstanding institutions that thrive on their own elitism and the implied deterrent of new individuals who wish to join the ranks.
The number of female names in the world of celebrated Western artists, is unquestionably paltry. The play looks at the way women painters and their work, are routinely subjugated and subsumed by their male mentors and counterparts. This chauvinism seems systematic, and it feels dangerously instinctual, and we wonder if this dynamic exists everywhere else in life.
Rowston’s writing is at its best when wistful and poetic. Her words are powerfully evocative, always passionate with advocacy for something meaningful. The plot is however, not as gripping as it wishes to be. Intrigue builds slowly, and when the story eventually becomes dramatic, we find ourselves more interested in Rowston’s philosophical ideas than the narrative being woven over them. Dialogue has a tendency to sound stilted when scenes attempt to be conversational, but the language turns beautifully sublime when characters move into more heightened modes of theatricality.
Actor Lucy Miller is an entrancing presence as painter-turned-academic, Zadie. Vulnerable, with an unmistakable gravitas, Miller brings authenticity to a protagonist who exists between shifting states of self-doubt and self-belief. Also impressive is Joanna Downing as the enthusiastic emergent, Dominique. Precise and considered, Downing’s portrayal of a brainy Millennial is truly delightful, even if her French accent is comically exaggerated.
Visual design is sparing but elegant. The use of projections to assist with our imagination of classic paintings is effective, and very gratifying, but an interpretation of The Seine requires much bolder execution. Live accompaniment by Benjamin Freeman on piano, adds brilliant flair to the show, a rare treat that theatregoers will find thoroughly enjoyable.
Zadie suffers humiliation when she mistakes a streetlight for the full moon. It is hard to conceive of creativity without sensitivity, but it is the artist’s responsibility to weather attacks on their pride, and return with greater vigour. It is also the responsibility of society to provide support to those who have the ability to give expression and meaning, to the human experience. In Australia, we have to give mindful emphasis to those artists whose voices continue to be silenced by a history of colonialism and its accompanying white patriarchy. Our art must strive for an accurate reflection of Australian life, and the white male artist is far from enough.