Exit

It’s always exciting when an old (in every respect) writer like myself encounters a new talent. This is James Hall’s first ever play, and he truly has talent. It’s raw, lacking craft skills (which can be learned) and very wordy, but it IS true talent – that rarest of commodities. Bravo! It is also coupled with bucket loads of PASSION - the second rarest commodity. No wonder I am excited. James is one of those rarities these days, a writer who writes because he HAS to - he has things to say!

EXIT is billed as a psychological thriller, but in truth it is more a story of finding redemption. Justin, a musician who has totally destroyed everything good in his life, comes to Victoria’s high country in winter, ostensibly to kill himself. He is haunted mentally by visions of the woman who left him, Sophia. But just as he is about to put his head in the noose, a stranger, an old bushie drop-out, arrives at his door and everything is turned on its head for Justin. We’re confronted with what may or may not be real, or at least Justin’s perception of it.

The actors in this three-hander are all quite remarkable given that this is an amateur production, with very little rehearsal time, of a brand new play which still needs several more drafts to realise its full potential.

Todd Jesson brings a special presence to any stage. He is charismatic and totally credible as Justin, and we sense the self-loathing and desperation that has led him to this place. It’s a fine performance.

Noel Thompson is just superb as Harvey, the menacing interloper. He owns the stage for most of the time, and commands most of the first act. It’s an incredibly wordy role which requires total concentration while appearing to be spontaneous. Noel nails it at every turn.

Sophia is a more nebulous character in that she is present only as part of Justin’s memory. Nevertheless, Emily Rowbottom is always convincing and holds her own with the two male powerhouses on stage.

She is a perfectly poised ballerina, as the role dictates. However, although Ellie Oneill’s choreography works superficially, it is not part of any particular prima ballerina’s role, and ballerinas (I have one in the family) are always doing Barre work when they are offstage or at home.

To see Sophia constantly “at the Barre” would have added an extra layer of truth to Justin’s delusion and created an air of graceful mundanity to play against the seeming “glamour” of the lovers’ backgrounds.

Clem Halpin’s direction is solid throughout and his blocking is to be much admired. Its great (but also naturalistic) use of every inch of the stage and the fabulous set (kudos to Clem again and Russell Williams).

There are some problems with the lighting design (largely because of the limitations of the theatre) and the soundscape could use a few additions to make the atmosphere even more authentic. But these are minor details. Overall, the play is a triumph for a company which is noted for its spectacular musical productions. I suspect we will see a lot more of James Hall’s work in the future, and, hopefully, a lot more plays at Spotlight.

Coral Drouyn