Venue: Kings Cross Theatre (Kings Cross NSW), Jun 14 – Jul 6, 2019
Playwright: Nick Jones
Director: Shaun Rennie
Cast: Di Adams, Jemwel Danao, Garth Holcombe, David Lynch, Ainslie McGlynn, Jamie Oxenbould, Eloise Snape
Images by Clare Hawley
Sandra owns a pet chimpanzee, who in Nick Jones’ Trevor, fancies himself a professional performer, having appeared as a younger primate, on stage and screen. Work has dried up, and Trevor is increasingly restless about his career’s downward trajectory. This of course, is all in his own mind, with Sandra completely oblivious about the turmoil that is brewing inside of the animal. Trevor is given his own voice by the playwright, but he talks as though in a monologue, never expecting any of the humans to understand, thus setting up for the play an inter-species disconnect that figures heavily as its ultimate raison d’etre.
Actor Jamie Oxenbould is persuasive as the chimp, with animalistic energy emanating from all of his being, without excessive reliance on physical mimicry. We believe his ambitions and his frustrations as Trevor, and appreciate the dramatic escalations being presented, through every plot development. Similarly convincing is Di Adams as Sandra, whose own problems are revealed at a slower pace, although no less powerful. There is however, a significantly stronger emphasis on Trevor’s experience than there is on Sandra’s, and considering our predictable affinity with the human character, it is a strange choice that prevents us from a closer empathy with the story.
In allowing Sandra to be somewhat subsumed in the production, director Shaun Rennie risks a distance that could result in a degree of emotional detachment for the audience, but it is a show that is relentless lively, and we find ourselves consistently involved, if not always invested. In a similar vein, Garth Holcombe and Eloise Snape both play larger than life, and very flamboyant personalities, who amuse us at every appearance, but who do little in engaging us on more profound levels. Their costumes though, are notably striking, humorously assembled by Jonathan Hindmarsh, who also solves spatial challenges as set designer, with demarcations of the stage that are, by and large, surprisingly effective. Lights by Kelsey Lee and sound by Melanie Herbert too, are accomplished, for an overall theatrical impact that proves gratifying.
It is absurd that a creature like Trevor should ever be kept as a pet. Human environments are barely feasible for our own survival, yet we insist on removing animals from their natural habitats, to put up with what we know is completely impracticable for them. This is the extent of our arrogance and narcissism. We see nature as a resource to be plundered, and fail to consider the consequences of our incessant exploitation. Trevor is about nature fighting back, and a timely work that opens up discussions about extinction, of the human race.