Underground

Playing to full houses, this is an inspiringly ambitious work by writer Christine Croyden.  Underground is a pastiche of scenes about the life of Nancy Wake a New Zealander - claimed as an Australian.  She worked in the French underground resistance - a highly romanticized occupation.  Wake left Sydney for Paris at eighteen.  Known as ‘The White Mouse’ (die Weisse Maus), she lived a long life - from 1912 to 2011.  Her extraordinary youthful years offer rich and intriguing material to explore for theatrical presentation.

Basically the text is a slice of history that most particularly touches on Nancy Wake’s relationships and looks at aspects of her strength and courage.  There is understandably a fascination by writer Ms. Croyden in Wake’s ability to kill in cold blood, an aspect that might be more fully explored.

Having achieved a solid result, Ms. Croyden could afford to rework her material after its pending tour.  Stronger choices of what aspects of Wake’s life to elucidate and what to discard would enrich and consolidate the work for stage.

As it stands this production is wanting, most particularly, a sense of uniformity and purpose.  Direction by Sara Grenfell requires a stronger hand.  Lighting (Shane Grant) is very rudimentary and fails to provide atmosphere.  The interesting choice to have no music at the beginning is not supportive of the actors, most particularly Margo Knight who plays the character of the mature introspective Nancy Wake.  Fortunately Ms. Knight has a glowing stage presence in any circumstance, but the show as a whole would  benefit from music to set the initial scene and thus galvanize focus.  Costuming is basic and there is notably a strange inclusion of an evening mink on the young Nancy Wake, played perhaps a little to endearingly by Emma Annand.

All actors are engaging but energy does seem to lag somewhat at times.  Characters are not always fully embodied or exuding purpose in all of the short scenes.  Throughout, vocal projection could be improved and the pace lifted and varied.  In its current shape the rhythms tend towards being hypnotically consistent.  Billy Sloane stands out for the very refreshing energy he brings to his characters Denden and a Nazi.

Segues of songs of the era, to enhance atmosphere, are presented beautifully by Tori McCann, although the choices of the particular songs are so familiar as to be clichéd.  However they will no doubt continue to please rather then challenge audiences.

The cavernous stage of Gasworks is unfortunately not modified to support the staging.  A smaller performance area would help the actors.  With any luck all future venues will provide a more nurturing and accommodating sense of intimacy appropriate to the production and comfortable and supportive for the actors.

As it stands, Underground is more informative then illuminating and evocative.  Although the themes relating to the specific subject matter are profound and troubling, the overall treatment, by contrast, is mild mannered - which will suit conservative audiences, but, I have to say, not this reviewer.  I am always on the look out for a challenge.

Obviously all cast and creatives are dedicated, however not enough time and attention to detail has been lavished on this work.  It will benefit from some collaboration in the rehearsal room with writer, director, actors and a dramatgue and lighting, sound and costume designers to concentrate on exactly what Ms. Croyden wants to say to the audience.

Despite my reservations, a very interesting work to catch and certainly suited to local community venues and audiences.

Suzanne Sandow

Credits

Directed by Sara Grenfell

Designer – Christina Logan Bell

Stage Manager – Rachel Nagy

Lighting Design – Shane Grant

Sound Design – Ryan Smedley

Cast

Nancy Wake – Margot Knight

Young Nancy Wake – Emma Annand

Henri Fiocca/Young Man in bar – Ezra Bis

Denden/Nazi – Billy Sloane

Sabine/Carer – Tori McCann