Red Velvet

Red Velvet is yet another intelligent and provocative SA premiere from Independent Theatre that rewards patient viewers with a nuanced examination of backstage politics and intrigue, some of which remain all too relevant today and it does so with a nice balance of humour and pathos.

Based upon a true story, the bulk of the play is set in 1833 London, where anti-slavery debates rage in Parliament and people are taking to the streets in riot over the issue. In the midst of these heated political climes, Pierre Laporte (Domenic Panuccio), the manager of Covent Garden’s Theatre Royal chooses African-American actor, Ira Aldridge (Shedrick Yapkai) to replace ailing veteran Edmund Kean in the role of “Othello”. Ira’s very presence upsets the more conservative members of the company, especially Keane’s smugly entitled son, Charles (Will Cox) and cynical stage veteran, Bernard (David Roach). But Ira’s pioneering approach to acting, with its strong emphasis on naturalistic delivery and physical contact challenges the preconceived notions of even the most progressive members of the troupe (Haley Smith, Jett Zivkovic, Rebecca Plummer). The theatre’s unpretentious Jamaican-born housekeeper (Noma Mpala) watches on in quiet bemusement as the dysfunctional troupe struggle to resolve their differences, and this professional conflict naturally has a ripple effect on Ira’s personal life, straining his relationship with wife, Margaret (Isabella Rositano).

The portions of Chakrabarti’s play chronicling this ill-fated but game-changing production are electrifying. The dialogue is ferociously snappy and the ensemble cast deliver it in an energetically vigorous style, playing off each other with impeccable comic timing. Though the wit in these conversations is rapier sharp, none of the phrasing comes across as unrealistically stylized and the underlying dramatic conflict feels authentic. The spirited debates about how “real” certain types of plays should be presented, as well as the ethical implications of colour blind casting will still ring true today. Also, it’s a credit to Chakrabarti that those characters who hold beliefs that nowadays would be considered bigoted aren’t presented as caricatures, but are instead shown arguing their point of view with some intelligence, it makes their rants all the more chilling. Cox practically steals the show with one such filibuster, his powerful oratory nothing short of epic. The short performances of pivotal scenes from “Othello” are also arresting, leaving one with the impression that a full production of Shakespeare’s play with the cast of Red Velvet would be something wondrous to behold.

Unfortunately, the play is bookended by two scenes detailing an aged Aldringe’s preparation for a “whiteface” performance as “King Lear” at a theatre in Lodz, Poland – where he is accosted by a nosy reporter (also played by Rositano). These scenes drag out well beyond their natural length and much of the dialogue is tiresomely pompous. The play would’ve been considerably improved if these scenes were cut out altogether. Director Rob Croser’s dynamic blocking and lighting designer Susan Grey-Gardner struggle to inject some life into these tedious scenes, but they can only do so much.

Still, if one has the patience to endure the play’s plodding first 15 minutes, they’ll be rewarded with one of the most powerful dramas to grace the Adelaide stage all year. All things considered, it’s a fair trade-off, especially given the strikingly colourful production values and such a uniformly charismatic cast.

Benjamin Orchard