Venue: SBW Stables Theatre (Kings Cross NSW), May 17 – Jun 10, 2017
Playwright: Patrick White
Director: Kate Gaul
Cast: Andy Dexterity, Eliza Logan, Carmen Lysiak, Johnny Nasser, Jane Phegan, Sebastian Robinson, Jenny Wu
Image by Lucy Parakhina
At the centre of The Ham Funeral is a Young Man without the certainty of a name. Unsure of his own identity, interpretations of what goes on around him is correspondingly ambiguous. Patrick White’s surrealist work is not one to rely on for narrative pleasure, but as a platform for theatrical delight, it swells with possibilities.
Director Kate Gaul identifies the extremities in the play, whether they be comedic, dramatic, grotesque or celestial, and turns them into sequences of sheer and intense pleasure. There is a cohesive whole, but the primary enjoyment of this staging is in the savouring of all its deeply fascinating moments. A vague logic does exist, but our senses, beyond those that comprise the rational mind, are fired up and called upon to engage, in a visceral way that can only happen within a live setting.
It is a waking dream in which we find ourselves immersed. Nothing looks real, but we know that everything points to something authentic. We are gripped by its mystery, and the hypnotic ambience so expertly manufactured by its team of daring creatives. Hartley T A Kemp lights the space so that everything seems to float in an abyss of subconsciousness, and Nate Edmondson’s sensational sounds of ringing and rumbling take over our nervous system, directly manipulating our moods and responses.
Gleefully infectious, the wonderful cast looks and feels to be made up of all those voted most likely to run off and join the circus. Idiosyncratic and profoundly eccentric, we are persuaded to relate to the show in a manner that is perhaps unusual for many. Eliza Logan is the magnificent leading lady, completely enthralling as Alma Lusty; wild, depraved and primal, yet impressively precise with the design and execution of all her choices. Intelligent and inventive, Logan’s performance in the flamboyant, mad world of The Ham Funeral is truly unforgettable. The nameless Young Man is played by Sebastian Robinson with a physical proficiency that adds exceptional beauty to the production’s visual emphasis. Also remarkable is Johnny Nasser, deliciously exaggerated while maintaining a measured sensitivity, in both of his contrasting roles.
A century has past since the dawn of Dada, and all things surreal or absurd may no longer be thought of as immediately relevant, but art must never shy away from conversations that exist at the outer limits of rationality and reason. If we talk only about the things we know, the chance of us meaningfully expanding consciousness is meagre. To break free from incessantly repetitious dialogue that has become a habit of modern living, it can only be beneficial to indulge in something radically new, especially when getting to the point, is not the point of it.