The Liar’s Bible

The Liar’s Bible
By Fiona Samuel. Sydney Independent Theatre Company, 8A/32-60 Alice Street, Newtown. May 1 – 19, 2012.

It’s easy to see why New Zealand playwright Fiona Samuel has won awards. In this play, she has created characters that are carefully and skilfully revealed in a multiplicity of short scenes that challenge director, designers, cast and audience alike. Yet they come together, in final moments that link and expose, but don’t make lengthy explanations. Samuel is a clever writer who shows genuine respect for the ability of her audience to make connections.

In program notes, director Julie Baz admits the challenge that the format of the play presented. It is a complicated series of seemingly unrelated short scenes, where the six actors interconnect, mostly in duologues, in varying locations. On film, this would be comparatively easy. On a small stage, with no wing space, it is more difficult. Designer David Jeffrey’s set of white horizontal and vertical geometric shapes establishes locations that almost overlap and allow the “claustrophobic, tightly wound atmosphere” that Baz obviously envisioned and the play demands. It is heightened by the use of loud, repetitious music in the black outs between each of the many scenes.

On this set, in this atmosphere, the cast work incredibly hard. Each creates a very strong, realistic character, who reveals a little more inner turmoil with each scene, until the fast paced concluding interconnections. The play is physically demanding because of its nature, yet their characterisation and their energy are sustained.

John Michael Burdon is loud and pushy and a little bit sad as Dave, the try-hard entrepreneur still suffering from a failed love affair. Paul Armstrong is cool and unflustered as Gus, philosopher-turned-house-painter. Rebecca Scott is vulnerable and confused as Baby, brought up by her late grandmother and still trying to work out the mystery of her past.

Mark Langham plays the ‘corduroy’ of the poet academic Leo with detached introspection and quiet charm – a contrast to Cherilyn Price, who plays his second wife, Mary, a doctor, facing infidelity and her own mortality with nervous energy – and alcohol.

Connecting many of the scenes is Gabrielle, would-be film-maker, recovering alcoholic, past lover of Dave and Leo. Erin McMullen plays this role with frenetic energy and zeal. She is consistently in role, bossy, funny, pleading, demeaned … and totally believable.

Baz, Jeffrey and this cast have made Samuel’s play work. The intimate nature of the theatre allows the audience to become one with the constant push and pull of the characters – and to welcome the gentle sigh of revelation with which Samuel ends her play.

Sydney Independent Theatre Company has created an interesting performance space. The acoustic and sightlines are excellent, lighting is new and innovative, sound equipment is clear and effective. The seating, however, is a little hard! Audiences might like to take a cushion!

Though the theatre is in an unusual location, the company has made a real effort to direct audiences to the hidden door that leads up to the theatre! Follow the signs to see this well directed and energetic production of a very contemporary and eventually satisfying play.

Carol Wimmer

Images: (top) Rebecca Scott and Mark Langham & (lower) Erin McMullen and Paul Armstrong

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