It's Not Too Late (until you're dead)

It is exciting to attend new and interesting theatre in Adelaide and post-human productions, an emerging contemporary theatre company, is committed to performing relevant, thought-provoking theatre for 21^st century audiences.

It’s Not Too Late (until you’re dead) is a two hander that was written by award winning Adelaide playwright Sally Hardy. In 75 carefully constructed minutes, the audience meets two sisters who seem to be as alike “as chalk and cheese”, or are they? The themes are interesting, relatable and universal and explore family memories and a sibling relationship where one sister is self-cast as the martyr and the other as the blissfully oblivious thoughtless brat.

Star Theatre’s seats are not designed for long legged people, and somewhat paradoxically and appropriately, it added to the discomfort for the audience, of arriving at the funeral of a complete stranger. Funerals are, after all, uncomfortable events.

On news of his death in 1897, the great American humourist, novelist and social critic Mark twain quipped,“The reports of my death are greatly exaggerated.” And so it may be said of self-obsessed, maniacal Lulu Anderson who wants to know and control what others will say when she does die.

On Opening Night, Emily Burns, as Sophie Bradford had the audience, in the palm of her hand. Symbolically dressed entirely in black, she greeted theatregoers as if they were funeral attendees. We quickly became aware that she had been given the dreaded job of delivering her sister, Lulu’s eulogy. Burns paced, was agitated and nervous and appeared distressed with the allocated role as MC of her annoying sister’s funeral. Her opening is full of anger. Her closing is full of love and understanding.

Burns is a skilled actor. Her performance is measured, well-paced and well-drawn. All alone on a stage that is bedecked with a decorated coffin on a dais, the compulsory flattering photo of the deceased and a pulpit lit with a gaudy cross, she engages the audience, delivering a “stream of consciousness” where memories of her younger, seemingly preferred, selfish and pampered sister tumble out. Sibling rivalry is bitter and “on show”. Burns works well with the humour in the show and her regaling of being upstaged by her baby sister at the school nativity play is witty and an audience pleaser.

Danni Zappia has been ambitious and has taken on both the role of Director of this play and that of one of the main characters, Lulu. The character is less sympathetically written and it is not until the end that Lulu’s pending mortality really makes an impact on the story. This is, in part, because of the writing where the audience really gets to know the “real”, decent and empathetic Lulu towards the end. Known for her work in musical theatre, Zappia is captivating as selfish Lulu, but less consistently convincing as dying, fatalistic Lulu.

Thoughtfully sporting a cannula taped to her arm, used for her terminal illness treatment, Zappia looks rather too robust, fit and well. She is beautifully made up, consequently lacks the haunted, gaunt look of those in the final stages of such treatment.

The two actors bounce off each other flawlessly. This piece is well rehearsed and choreographed. Of note musically is the reworking of ‘Life Is A Cabaret’ to ‘Death Is A Cabaret’, performed as a finale.

Initially, on Opening Night, the lighting was inconsistent, but it warmed up as the story unfolded and effects were used for flashback scenes thoughtfully and effectively. The star projector effect was captivating for me as it enhanced both the story and the mood.

The Synopsis and the Director’s and Writer’s notes tell us that this is a black comedy and existential drama. Comedy in parts, perhaps, but little of the style of a black comedy seems to drive this piece. It is deeply thought out and the staging is interesting and varied, but some of the parts where we see the sisters as small children are somewhat overstated and the message gets lost in the staging.

This is passionate, energetic theatre showcasing local talent. It deserves encouragement and support.

Jude Hines