Holding the Man
Holding the Man is an award winning play, with accolades including the 2007 NSW Premier’s Literary Award and an AWGIE, but to my knowledge, this production by The Performing Arts Association of Notre Dame, Australia (PAANDA), is the first time this play has been performed in Western Australia. It is great to see this young, dynamic and talented young company continue to stretch their wings with good, modern Australian plays, which challenge both performers and audience, and have important things to say.
Based on the memoir of actor and playwright Timothy Conigrave, this is a love story about Timothy and his partner of fifteen years, John Caleo, through schoolboy crushes, societal and family disapproval, separations and temptations, living through the worst years of the AIDS crisis and eventually death.
Beautifully presented in an adapted Brechtian style, most performers play multiple roles and are visible at side of stage at most times. The cast perform in theatre blacks with costume additions (lovely design from Sasha Beach) against a single, bright multi-locale set with nods to the era (good work from Thomas Bloffwitch). Atmospheric lighting is provided by Harry Osbourne with well chosen sound design from Hannah Quaden.
Director Matthew Jones, due to unforeseen circumstances, has stepped into the central (and huge) role of Tim. It is a credit to Matthew, and Assistant Director Dan Ridley, that this show does not suffer the problems frequently seen when a director is also the leading actor. Direction is clear and consolidated and Matthew’s performance has depth and great understanding - an excellent portrayal. He works very convincingly with Tim Claxton, as John Caleo, who gives a beautiful, slightly understated performance - a lovely contrast to Matthew’s exuberant actor Tim.
Excellent teamwork and character establishment from a hard-working ensemble. Among many interesting characters, I particularly enjoyed Lachy McGregor and Martha O’Hagon’s work as Tim’s parents and Will Evans (doing double duty as Stage Manager) and Chelsea Morphett’s strong portrayals of John’s family. Orla Poole is lovely as best friend Juliet, and Georgia Comerford’s ‘talked over’ Lesbian at a GaySoc meeting, is a highlight.
A wonderful understanding of the attitudes and prejudices of the era, which for these young performers and creatives is practically ancient history. A very solid show, that is a credit to all involved.
Kimberley Shaw
Buy the script here.
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