The Plot

Evdokia Katahanas’ production of her own play is suitably housed in a community theatre in inner west Sydney dedicated to plays by, about, or in the language of Greeks.

Indeed, The Plot ticks all the boxes. It celebrates or fondly mocks everything about being Greek – even down to the nice spread afterwards in the foyer.

As such, The Plot (as in burial) dispenses with much of a plot; it’s mainly a checklist revue of sketches and characters played out big to Greek applause. The setting is a Greek-run aged care home with a shonky board in conflict with a big-hearted manager, a dedicated staff and some lovingly demented patients.  

At one inexplicable moment Maggie Blanco wanders in, strokes her aged body and pines for the good sex of her youth, then slides into a bit of celebratory Greek dancing with the manager (a very hardworking Dino Panozzo).  

Meanwhile Nicholas Papademetriou struts out the sham Greek honour of the Chairman, but we never really know what the board is up to, and after exhausting the clichés, The Plot ends with a sentimental whimper.

And yet some amusing caricatures endure – like Papademetriou’s perennial old worrier; Deborah Galanos’ sluttish bogan squeezed into Greek bling and body stockings; or her sex-mate Michael Kotsohhilis, trying to square Greek love of family with his male entitlememt to indulgence.  We hear much too about the tough life now in Greece. 

On the wide Mantouridion stage some blocking and pacing is awkward and director Sophie Kelly encourages her cast to play big and out.  Perhaps that’s the best way to get through Katahanas’ patchy narrative. Undoubtedly, it reaches out to some fond laughter and recognition.

Martin Portus

Images: Mark Micaleff Photography