Subscription to Love

Subscription to Love
Written and directed by Will Dunlop. Playlovers. Hackett Hall, Floreat, WA. March 13-15 2014.

In this "Shakespeare Anniversary" year, when productions by Shakespeare, inspired by Shakespeare's plays or about Shakespeare abound, Playlovers have taken a different approach with the world premiere production of Will Dunlop's Subscription to Love. This brand new play is set in the present, has very contemporary themes, but is written a la Shakespeare in rhyme and iambic pentameter.

Proudly set in Perth, with some local references, it deals with relationships and romance. This is a really intriguing show and it shows how the language used by Shakespeare gives what we now think of as credence and importance to petty squabbles and jealousies. Will Dunlop's plot structure is very clever and the way he merges subplots at the end, really clever. His use of language is really impressive and he has created some excellent characters he is also really funny with his comedic language intelligent and his observational comedy superb.

The play in its present form is problematic. It feels overlong and I found it excessively political even though I agreed with most if not all of Dunlop's political sentiments. One character (apparently added since the initial reading) seems to exist only to sprout socio-political opinions and really doesn't need to be there. I think, being the playwrights's first play, he felt a need to say everything right now, lest he never write again, but really he should edit this show judiciously, take it on to bigger and better places and use his brilliance to write more shows.

The delivery of lines in this show posed a rather interesting challenge to the actors. Handling the delivery beautifully and delivering excellent performances were Jordan Holloway who played the immensely likeable Elliot, Rachael Chamberlain as love interest Claire and Jess Stenglein as barmaid and sometime cupid Alice. Cameron Leese made the most of his brief appearances as Michael and Clayton Zwanenburg provided humour and wry observation as a Big Issue salesman. Monty Atherdon made a promising stage debut in an extremely difficult first role as central character Jamie. The cast as a whole formed an interesting and well rounded ensemble.

Simply set over two levels, staging was good. Lighting was used to enhance focus under the direction of Alaric Korb. Costumes were simple but thoughtfully chosen.

I am pleased that I was able to witness the emergence of this clever young writer and look forward to later incarnations of Subscription to Love and further exciting plays by Will Dunlop.

Kimberley Shaw

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