A Mouthful of C Words

A Mouthful of C Words emulates the structure of Arthur Schnitzler’s 1897 play, La Ronde (Reigen), in which the intimate encounters of various couples create a mobius strip of connection. One character from each of the ten scenes, continues into a subsequent scene until the cycle is complete. In each scene, a sexual act is simulated or referenced. This sexual sinnet takes place in the limited gene pool which is known as Hobart, Tasmania.

Whilst intended for a mature audience, this play is not gratuitously offensive and the C words are not the particular word one might assume. A Mouthful of C Words is about a city, community, connection, change, crisis and courage. It is also contemporary, making reference to the Tasmanian Housing Crisis, the relocation of the UTAS Campus and the influx of Chinese to Sandy Bay.  A Mouthful of C Words conjugates Cancer, Capitalism, Colonialism, Consent and Class. Yet the play does not take itself too seriously and is able to laugh at itself, taking a swipe at the festival of which it is a part.

The strength of A Mouthful of C Words is in the acting and the writing. The play, one of many reworkings of the original, is a collaboration between five writers - Matthew Cook, Hera Fox, Stephanie Jack, Carrie McLean and Andy Vagg. Some of the writing is beautifully poetic, the dialogue is fresh and incisive; the characters are strong.  Some of the situations are absurd, some poignant and some disturbing. Across the ten scenes, even with last minute cuts and changes, the writing remains even. It is a remarkable cooperative effort.

Only two actors take the dozen or so characters in what must be an exhausting 100 minutes of unrelenting concentration.  Jem Nicholas was given permission to play a part intended for a transgender woman. Nicholas was equally convincing as a jaded divorcee as she was as the high energy anti-colonial ‘Missy’. She gave a beautifully human and gracious portrayal of a sex worker. As a politician, she was both ridiculous and vulnerable. In every instance she was credible and engaging.

Fengyi Liu was equally versatile. He was eerily threatening as the property owner in latex gloves, yet sweetly charming as the young Incel cancer patient. The confused young evangelist was vastly dissimilar to the homeless fellow in the laneway.

Both these actors are Hobart based yet with significant interstate and overseas experience. Both are involved in other aspects of theatre with extensive resumes. A Mouthful of C Words is worth seeing for the acting alone.

The set by Nicole Robson utilises lit up photographic collages. Use is also made of the rear rock wall of the Peacock Theatre. The reflective tape on the black curtain is simple but effective part of the mis en scene.

The music by Natlaya Bing and Joshua Santospirito is a unifying facet of the production. A percussive motif is augmented by Vivaldi’s Spring, a hospital soundscape, and the ambience of a café or a Friday night at Salamanca.  This creates a coherence to the otherwise disparate scenes.

Lucien Simon is to be commended for his vision and Chris Mead for his commitment to the project. A Mouthful of C Words never confuses, but charms and challenges.

NB: 41. There were 41 C words used in the above review.

Anne Blythe-Cooper

Photographer Nicole Robson