Cosi

Cosi is an Australian classic, taught as part of the Australian high school English curriculum for many years. Written by Louis Nowra, it premiered in 1992 at Belvoir St Theatre. Set in a mental institution in 1971 during the volatile period of the Vietnam War, it has the potential to be dated and perhaps enter into the realm of stereotype in portraying patients with mental illness. Megan Dansie’s direction has put this under a blacklight, both physically during scene changes, and metaphorically. She has built characters who, whilst larger than life, allow us to peer in, and build a stronger empathy and understanding of mental illness and institutionalisation in the era.

The basic premise of this play centres around the protagonist, Lewis (played by Matt Chapman), a young director from university who takes a job in a mental institution working with patients who are interested in performing. On his arrival he wants to stage Brecht and is naïve about how all of this will play out, until he meets one of the long-term patients, Roy, who overrules his plan, citing great stage experience, insisting on staging Mozart’s opera Cosi Fan Tutte. None of the patients can speak Italian nor sing, and having a rather disparate group ranging from obsessive compulsives to a pyromaniac, Lewis has his work cut out for him.

The play cleverly contrasts the chaos of the outside world at the time of the Vietnam War and the chaos within a world cut off – a place of isolation where all live in wards and are protected for their own and others’ safety. As we move through the play, we see Lewis grow to care for these amazing people and their enthusiasm for the play and how, through great difficulty, they have managed to co-exist within their own ‘war’.

The play is about friendship, romance, and difference. Dansie does a very good job in highlighting the comedy and pathos, utilising the skills of her actors well.

The set, designed by Bob Peet, feels authentic. We are immediately transported to a shabby run-down asylum, showing obvious signs of disrepair and arson attempts. The use of a raised area works well to allow focussed acting downstage and some wonderful ‘business’ upstage.

Costumes by Gil Cordell and Val Hancock are era appropriate, and a particular highlight are the ‘inmate made’ powdered wigs in the opera scene. Music is used to great effect – the 70s music sounding very much like it was coming from a transistor radio as it would have been at the time. Lighting by Richard Parkhill is simple and effective – particularly the use of ultra-violet light in scene changes.

This is a talented ensemble. Matt Chapman’s Lewis is understated and gentle, and through this we see the other characters’ ‘over the top’ eccentricities amusedly through his eyes. His monologue at the close of the show was full of affection and solid understanding of the journey. Chapman as always, shows his versatility as an actor.

Roy, interestingly played by April Stuart, is both tragic and joyful as we see him vacillate in his internal struggles. Stuart’s Roy is very camp and dramatic and uses physicality well. I just felt that more of a change in behaviour was needed after the electric shock scene to allow us more of a window into Roy’s tragic life. The monologue about what music means to him, ‘the music of this opera keeps the world in harmony’ however, is very moving.

Doug, the pyromaniac, is played by the talented Jethro Pidd. Pidd has great comic timing and explodes onto the stage each time he enters. He almost appears ready to ‘burst into flames’ at any moment. His ‘cat story’ is an absolute highlight!

Cherry, played by Michelle Hrvatin, is an absolute standout in this show for this reviewer. She also has wonderful comic timing but leaves us at times sitting with her on a knife edge as the menace that lurks beneath threatens to emerge. She is hilariously funny and strong, as she fights to show what women can do in an opera where they are portrayed as less powerful.

Jenny Allan is wonderful as the obsessive-compulsive Ruth who spends much of the play seeking answers to the questions - Is life real? Is it an illusion? Her physicality is exceptional – she is constantly moving, and her scene where she is continuously pacing steps behind the main action is an excellent example of subtle acting.

Julie, played by Alyssa Peters, is quite good, but I felt her addiction needed to be manifested more through body movement and frustration throughout the play. Good performances of fairly one-dimensional roles (the fault of the writing) were given by Laura Evans (Lucy), Nathan Brown (Justin) and Tim Edmonds-Wilson (Nick). Riordan Miller Frost’s Zac developed well throughout the show and was very funny in the accordion scenes, and Brian Godfrey was a solid and very entertaining Henry. He can command a stage by saying very little!

Cosi is about friendship and how theatre can break down any barriers. Louis Nowra himself said: ‘In many ways Cosi is about the liberating nature of theatre and how it unifies everyone.’

Take the drive up the hill to see Cosi – an entertaining night of socially distanced theatre.

Shelley Hampton