Poetry and motion and what it means to be a man
The subject of masculinity and what it means to be a man in
today’s Australia are skillfully explored in Darlinghurst Theatre Company’s
production of Savages, written by Patricia Cornelius.
Opening with a blast of light and sound, we meet four
thirty-something Aussie men, about to embark on the ‘trip of a lifetime’ aboard
a cruise ship. While we never know what bonds these men together, they are
instantly recognisable as a pack, growing more animalistic as the play goes on.
This is a production that fully utilises all the elements of
theatre – sound, lighting, set, script, and physical performance. What’s more,
they work together smartly to create a cohesive, slick production where nothing
is redundant.
Production Designer, Jeremy Allen, has captured the feeling
of being on a cruise ship brilliantly without giving us anything too literal.
The portholes that run the length of the back wall imply the nautical theme, as
does the wooden decking used to cover the stage. But the set really works
because, just like passengers on a ship, the actors are confined to a finite
space – in this case, a platform which is only one third of what is available
on the Eternity Theatre’s stage. They are ‘imprisoned’ for the duration of the
play – pacing like caged animals staring at the space beyond.
Complementing the set is Sian James-Holland’s lighting
design. Full of bold colour, the lighting guides us as we traverse the ship
from morning to night and night club. The strongest element of the design is
the use of the portholes to disguise directional spotlights aimed into the auditorium.
Through this device, the audience becomes a participant in the production.
Targeted by blinding lights, the stage disappears from our view. We are caught
in the spotlight – as if to say, yes, you too are a part of this. You’re also
to blame. As a woman, this lighting state had the added, chilling effect of
making me feel as though I was the prey currently being stalked, even though
the actors’ faces were hidden. Unsettling yes, but a poignant dramatic choice.
There is a poetic quality to Cornelius’ script which takes a
little getting used to. It’s a bit like watching Shakespeare for the first time
in a while, where the initial dialogue jars and confuses the ear, until you
settle into the rhythm and rhyme. There is an interesting juxtaposition between
the lyrical style of the script and the vocal cadence adopted by the actors.
These are blokey, Aussie men, who generally speak in monosyllabic sentences,
dotted with profanity. Cornelius has managed to capture this characterisation
while still giving us a melodious script. It shouldn’t work, but it really
does.
Helping to bring these two contrasting script elements
together is the cast – Yure Covich (Craze), Josef Ber (Rabbit), Troy Harrison
(George) and Thomas Campbell (Runt). Their rehearsal clearly shows in the
frequent unison moments and pacey, inter-connected dialogue. Similarly, their
movement has been choreographed superbly by Julia Cotton (Movement Director) to
take into account the limited space, and the progression towards an animal
state. Pushed too far, this stylised movement would be laughable and
distracting, but thankfully Director, Tim Roseman, has brought a subtly to the
performances of his cast.
There are no standouts here, but this is not a criticism;
this is in every way an ensemble piece and all four actors bring their A-game.
We see their individual characters emerge only occasionally, reverting quickly
back to the safety of the fraternity.
At the heart of the production is the question of what leads
men to behave in the way they do. How much influence do mates have over one
another? What does it mean to be a man? What role have women played in emasculating
the so-called stronger sex? While not ever really answering these questions,
Cornelius’ script and its excellent treatment in the hands of Darlinghurst
Theatre Company certainly gives us food for thought, particularly against the
backdrop of lock-out laws, one-punch murders and rising domestic violence. This
is an insightful portrayal of men trying to come to terms with their
socially-derived captivity.
Savages defies classification – it is funny, poetic, and
political. The boys’ cheeky banter draws many laughs, but there is also
something menacing unfolding here. An underlying threat that you just can’t
shake. The comedy brings us back from the brink a number of times, but the
jokes can only hold out so long…
Details
Viewed: 6 April 2016
Venue: Eternity Playhouse, Darlinghurst
Author: Patricial Cornelius
Director: Tim Roseman
Production Company: Darlinghurst Theatre Company
Viewed: 6 April 2016
Venue: Eternity Playhouse, Darlinghurst
Author: Patricial Cornelius
Director: Tim Roseman
Production Company: Darlinghurst Theatre Company
