Q

Q is a strong contemplative black comedy about making the most of life.   It makes its point with crystal clarity through looking at the immediate journey of those who have just died.   Excellent ‘post grad’ theatre, it is beautifully produced and well rehearsed – a smooth production.  The acting is even and credible.  All performers have a solid grasp of their characters and work as a team.  A significant amount of the dialogue is complex however performers don’t seem to be daunted or tripped up by this. 

I am not usually a fan of writer directed material, as I think there is a danger for a creative artist to wallow if not held in check.  However as writer/director, Aleksandr Corke is even-handed and nothing is glaringly indulgent or over worked.

There are some small adjustments that could be made.  For example there are some sight line issues in the first scene where the Inspector is placed, chain-smoking, in front of other performers.  And there are times the scripted dialogue is a little verbose - less can be more - and have more impact.

The sound by Justin Gardam is interesting and suggestive of a kind of never ending vastness.  Lighting (Georgie Wolfe) is used to significant and appropriate effect.  The set (Nathan Burmeister), with its white transparent flats, is great.

Wil King plays K, the protagonist, whose journey into the afterlife we follow.  King is most engaging as he portrays an open and sensitive young man of today.  Initially he is, perhaps, too easily persuaded to sign his life away.  I am wondering what the overall effect would be if this character held out a bit more over this action.

Nearly all actors get a chance to play more then one character and they do this with considerable competence.  Alanah Allen contrasts her characters of the brusque Inspector and more commonplace Rhea particularly well.  Ashleigh Gray as Bodwyn and Reilly Holt as Latimer have some lovely moments expressing themselves as a cohesive team of workers, and later both present significantly dissimilar individuals, Holt as the more mellow Symeon and Gray as a very short-tempered Ira. 

As Blair Peck, Caitlin Buff embodies an almost lurid and fluid vamp then she takes on the rigid straight down the line unsympathetic character of Doorman.  Aislinn Murray has a lovely accessible ‘stage presence’ as Audrey, in contrast with the functional role of Whyte.  Max Paton’s ambivalent Minister is amusing and thought provoking and his Geoffrey convincing.  Edan Goodall has a rich well-modulated voice and a vital engaging energy that imbues both his characters - Arthur and Crow.

Overall there is a great sense of vitality and significant potential from this troupe of able young people.  Without exception I would be interested to see what they do next.   I do think some vocal and physical workshops could stand them in good stead and help infuse their work with even more professionalism.

Very impressive.

Suzanne Sandow

Credits

Production Manager – Sian Halloran

Dramaturg and Assistant PM – Kate Speakman

Set and Costume Design – Nathan Burmeister

Lighting Design - Georgie Wolfe

Sound Design – Justin Gardam

Stage Manager - Sophie Ashkanasy

Cast

Alanah Allen – Inspector/Rhea

Ashleigh Gray – Bodwyn/Ira

Edan Goodall  - Arthur/Crow

Reilly Holt – Latimer/Symeon

Max Paton – Minister/Geoffrey

Caitlin Duff – Blair Peck/Doorman

Aislinn Murray – Whyte/Audrey  

Wil King – K