Because of Reasons

Quality always wins over quantity for me, and so this short (45 minutes) new play by Rob Reid, about the toppling of Kevin Rudd in 2010, is completely satisfying.

It’s a brave decision by Jason Cavanagh to run a repertory season, and to offer this quality is remarkable.

Director Petra Kalive and designer Casey-Scott Corless have done a marvellous job on a shoestring budget. Basically some red tape, a couple of small whiteboards and 5 red industrial style desk lamps are all the set/lighting that there is…and all that is necessary. The desk lamps can be angled and swivelled and are bracketed to the long wall in the black box performing space. The actors move them individually to provide pin spots and floodlights as needed. The cast wears their own clothes except when donning white shirts, red ties and suit jackets – except for julia Gillard’s red jacket. The text and performances were so compelling that we didn’t need, or want, anything more.

The repertory company proved that last week’s brilliant Noises Off was not just a flash in the pan. Tim Wotherspoon proved once more what a terrifically dry and laconic comedic talent he is, capable of finding the humorous nuance in every line. It was fascinating to watch him morph into Lindsay Tanner, Mark Abib, David Koch, Kerry O’Brien and others. The delightful and beautiful Freya Pragt gave us an impressive and moving Julia Gillard – her final moments alone have the uncomfortable ring of truth. She also managed to be a creditable Malcom Turnbull. Brendan Hawke was perfect as Bill Shorten and Wayne Swan, as well as more minor players. Lelda Kapsis is far more attractive than Graham Richardson, Penny Wong, or even Cate Blanchett – but her skilled portrayal of them, and more, was excellent.

Finally there’s Keith Brockett – who so impressed in last week’s offering.

In spite, or perhaps because, of  his Asian ethnicity, he was superbly on the money as Kevin Rudd, and eerily channeled him on some occassions.

There’s a reluctance amongst even staunch theatregoers to see new plays, consequently this production is slower to fill. There shouldn’t be. The new plays of today are the classics of tomorrow. This company takes risks, and so should we as an audience. See this play, it truly is worth it. Just call the Owl and The Pussycat direct. It’s great theatre that costs little more than a movie ticket. This cast will no doubt go on to bigger…if not better….things. At the very least you can say you were there at the beginning.

Coral Drouyn

Season Preview / More Detail

Noises Off  Review