Venue: New Theatre (Newtown NSW), Nov 19 – Dec 21, 2013
Playwright: Moira Buffini (from Nikolai Erdman’s The Suicide)
Director: Peter Talmacs
Actors: Johann Walraven, Jodine Muir, Jeannie Gee, Joel Spreadborough, Peter Adams
Image by Bob Seary

Theatre review
This story comes out of 1920s Russia, and includes some very subversive dark humour, dealing with death, marriage, religion and politics. Moira Buffini’s 2007 script is an adaptation that retains the original’s time and place, foregrounding the political climate of the time. Almost a hundred years on, Russia is no longer thought of in the same light, but social dynamics do not seem to change and we recognise the mechanics at work in the narrative.

Dying For It is a very funny show. While not every moment is laugh-out-loud hilarious, each line is witty and comedic. The context is dark and twisted, but the writing is purposefully light and humorous. Buffini’s characters are irresistibly amusing, and her farce cuts to the bone. Director Peter Talmacs creates a show that is entertaining and energetic, extracting from his cast a performance style that is wild and extravagant. Talmacs is relentless at keeping things lively, and he makes full use of the abundant absurdity inherent in the play.

The cast is a strong (and big) one, with leading man Johann Walraven taking the opportunity to show off his formidable talent. Walraven plays Semyon Semyonovich Podsekalnikov with a calculated silliness, and portrays a character that the audience finds simultaneously endearing and appalling. His work is precise, in terms of his physicality as well as diction, and is an absolute joy to watch. His wife Masha is played by Jodine Muir, who excels at the kind of frantic, rambunctious performance that characterises this production, and offers an important counterbalance of rationality to the mad goings-on of the other roles. Jeannie Gee’s mother-in-law character escapes generic stereotyping, with a depiction that is charming and whimsical. She clearly has a keen sense of comedy and draws many of the biggest laughs.

Tom Bannerman’s design shows a deep understanding of the New Theatre stage capabilities, and his ambitious set is crucial to the effectiveness of this production. Tony Youlden’s lighting is subtle but thorough, and operated flawlessly by the crew. This is a demanding show for its operating crew, who rise up to its challenge with fabulously sleek work.

Dying For It travels through bleakness, but its dark murmurs resonate silently. It expresses a poignancy that is omnipresent but gentle, even though its themes are heavy. This is a work of comedy that is reminiscent of the art that laughs in the face of adversity.

www.newtheatre.org.au

Venue: New Theatre (Newtown NSW), Oct 8 – Nov 2, 2013
Playwright: Noël Coward
Director: Rosane McNamara
Actors: Alice Livingstone, Jorja Brain, James Bean, David Halgren
Image by Bob Seary

Theatre review
Noël Coward’s work has an irreverent and subversive sensibility that stands the test of time. Hay Fever is about a family that is characterised by early 20th century notions of decadence and the bohemian, and Rosane McNamara’s vision has created an interpretation that speaks to modern audiences, while retaining all the robust and wicked humour that Coward is best known for.

Judith Bliss is the matriarch of the household, and a middle-aged star of the theatre who seems unable to live life without manufactured drama and exaggerated affectations. Played with flair and excellent humour by Alice Livingstone, the role is front and centre of the show, and absolutely crucial to the success of this production. Livingstone’s firm Cowardian grasp of flamboyance and wit is marvellous. Her skills in high camp delivers barrels of laughter, and she carves out a character that is perversely alluring despite her hideous indulgences. Livingstone’s counterparts do not quite match up to her comedic excellence, but all have created distinct and memorable personalities that move the plot along with clarity and sharpness.

Another star of the show is production design; all visual elements are impressive. Set and lighting design are effective, and their take on 1920s Art Deco is graceful and charming. Costumes are superb and detailed, and in the case of the character Myra especially, hair and makeup are simply stunning.

New Theatre’s Hay Fever is a bold and wonderful achievement. Noël Coward’s characters and wittiness are not the simplest to portray, and even though this production does not hit every punchline perfectly (most notably when the leading lady is off-stage), it is remarkable that his story is brought to life so vividly. With the passage of time, its century-old aesthetics might look to be outmoded, but Rosane McNamara’s direction fleshes out everything that is exceptional and unconventional in Coward’s writing that is rarely, if ever, replicated.

www.newtheatre.org.au