Calpurnia Descending

Sometimes, when confronted with spectacular talent, those around them are held in such thrall that no-one is prepared to say “you just crossed the line from innovation to indulgence” – or from “excellence to excessiveness.” This seems to be the case with the amazing combination of Ash Flanders and Declan Greene (Sisters Grimm) – it appears no one has told them that the work loses its brilliance when it becomes schoolboy campery.

There is no doubting their talent, and there’s enough brilliance in Calpurnia Descending to hold our interest through the indulgence ….but only just. Occasionally it digresses from gender-bending queer theatre into a local drag show – or a chaotic AV display, but the quality of the performers pulls it back. God forbid that it should lose its satirical edge or even its outrageousness – but it needs to remain accessible to its audience, and discipline need not be restrictive.

The story is a marvellous parody of the great camp movies, All About Eve, Sunset Boulevard and Whatever Happened to Baby Jane – I’m not going to spoil it for you by revealing the plot but there’s an ageing Diva, an opportunistic young Ingenue, a Butler companion/a Producer and a young Director….plus a hapless Stage Manager playing herself.

There are some GREAT drag performers in cabaret shows, and perhaps the most successful Drag character of all time is Dame Edna, who bridges several genres  – but Paul Capsis doesn’t fit into that genre. He’s first and foremost a stunning actor and charismatic presence, a man playing female roles in a high camp melodramatic fashion, yet with deep emotional truth. His Beverley Dumont, the pathetic old actress attempting a comeback in the play she should have performed ten years earlier, is two thirds Bette Davis with a splash of Swanson and Crawford for good measure. But she is also totally convincing and heart-breaking. In the moments when Capsis, devoid of drag but still in makeup, climbs the Gaffer’s ladder – we see a complete meld of male and female, of actor and character. This is the first time I have seen Capsis on stage but it won’t be the last. He is simply stunning.

Ash Flanders is almost as impressive as the ingenue Violet, with great style and delicious timing. The incomparable Sandy Gore almost steals the shows from under their noses as (first) Beverley’s long time companion Tootles and then (in a stunning portrayal) as the Producer who has loved Beverley in the past. She is superb. Peter Paltos has his work cut out in this company but still manages to make an impact.

The idea of the scrim screen coming in to mask the “live” action, by putting on film – including close-ups – what is actually going on behind the scrim, out of sight, is novel and initially interesting…. but when the story – and film – suddenly take a turn into the realm of Video Games via Violet as a Belkin Router – the sense of continuity goes out of the window and the Belly laughs trickle down to a few chuckles. All of this animated background is pre-recorded, and, despite Capsis being filmed live in green screen and supered against the background, we do lose the sense of  live theatre in exchange for an “aren’t we clever?” moment (despite Matt Greenwood’s impressive animation and Jed Palmer’s deliciously overblown Miklos Rozsa style style score).

Calpurnia Descending is always interesting theatre with flashes of genius, but at the end one can’t help feeling that Sisters Grimm’s full potential is yet to be realised.

Coral Drouyn

Images: (L to R) Pete Paltos, Paul Capsis & Ash Flanders and Paul Capsis & Ash Flanders. Photographer: Brett Boardman.