Furiously Fertile

Furiously Fertile
Christine Harris & HIT Productions. Athenaeum Theatre. May 31, June 1, 2011

HIT Productions’s touring theatre show Furiiously Fertile has taken its production on two journeys: literal and metaphorical.  Back from a three and a half month stint performing around the country, the performers were greeted by a packed, buzzing audience, eager to see protagonist Nic’s journey from desperately single to blissfully pregnant.

A modern, designer living room set greets the theatre-goers. An impeccable brown couch, seductive red cushions and crafty construction of an entrance door, kitchen and hallway to bedrooms is decorated with framed sport pictures.  These pictures and an impossibly small desk support Nic’s chosen career: sports journalist for The Age.  Her friend, confidante, occasional mentor and the play’s narrator provides the context in opening the show: “She [Nic] has made a decision I don’t agree with”.

This decision is to seek out a male housemate under false pretences; a man who shall be recruited based on his suitability to bear Nic’s two desired children.  The audience knows what Mark, the chosen housemate, does not: that he has unwittingly signed his life away to the 36 year old “career woman”.

It doesn’t take long for Mark to move in.  He is nerdy but no pushover; trustworthy but reserved.  His presence breaks the monotony of Nic’s incessant whining, and offers new conflict to conquer.

The banter is well paced, as you’d expect from the trio of professional actors, Daniela Farinacci (Nic), Trudy Hellier (Deb) and David Tredinnick (Mark).  Having said this, there are no standouts.  Perhaps this is because the female stereotypes are laughable: Nic is desperate, and Deb is a slut. Nic behaves like she has been living under a rock for the last 36 years.  The lack of maturity is further reflected in her costume, which is conducive to that of a teenager. 

However just as we’re led to believe that these characters are hungry for depth, Deb confesses that though she “pretends to be positive”, she’s a deeply unhappy person.  This moment, as well as Nic’s staggering reveal at the play’s conclusion, suddenly validate the characters.  Yet it feels like a case of too little, too late.

The stagecraft elements are sharp and effective. Nick Merrylees’s lighting design shrewdly lights up a kitchen, offering a sanctuary for Nic.  Music is used for scene transitions and as mood enhancers.  Director Sioban Tuke’s decision to minimise is great, and necessary for a travelling company.  Everything on stage has at least one purpose.

I desperately wanted to love this play, and be moved and cry as the brochure promised.  As an almost-thirty year old woman myself, I embraced the concept of taking a proactive approach to child bearing.  But I was repelled.  The plot is preposterous. Its execution was predictable.  The women were embarrassing. The man was unlikeable.

Thus all that is left are ferocious desires for this reviewer: for Deb to grow up, for Nic to be loved, and to be shown a play that wasn’t a dead giveaway from the publicity photo.

Tammy Shmerling

 

To keep up with the latest news and reviews at Stage Whispers, click here to like us on Facebook, or follow us on Twitter.

Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.