Mono

First performed in early 2022, Mono is a three-person satirical romp. It is 90 minutes of wit, fun and extremely clever writing, presented as 10 Scenes and is evocative of the comedy style of the 1970s to the 1990s where revues full of clever, pithy dialogue were de rigueur. The emphasis is not on elaborate props (they are almost non-existent), glamorous sets (there is not one) and flashy lighting (well they did change the light colour several times). Every word is carefully chosen and meticulously planted for maximum impact, mostly as live monologues and twice as voiced over performances by comedy favourite Max Gilles. In truth, this show is shamelessly aimed at the audience who remembered the era when theatre was a swearing free zone, had little vicious violence and challenged people with often gently profound situations that required thought, a sound understanding of the world and a different definition of ‘political correctness.’

In the 1970s Gilles was a founder of a ground-breaking experimental comedy theatre company and his deft hand and unique comedy style is still safe in the hands of writer/director Angus Fitzsimons most recent comedy hit, Mono, which is being performed for an alarmingly short season at The Dunstan Playhouse. Gilles, a Mo Award winner, is best known for his parodies of a notable array of world leaders and figures including Margaret Thatcher, Queen Elizabeth II, Ronald Reagan and Bob Hawke. In fact, it has been reported that his Bob Hawke was more true to the former Prime Minister that the man himself. Gilles, as a parsimonious parson in a piece called Questions, brings his famed Marty Feldman goggle eyed stare and funeral pace to unravelling issues of faith. His abiding piece of advice as to why God doesn’t just tell us all of the answers is, ‘That would be cheating, and God doesn’t cheat’, but does the Rev? Monique whose name pops up several times may be able to answer that question! Not just a jokester, Perspective is a lovely and poignant Art Gallery ramble and journey through Gilles’ memories of his absent wife.

This is not, however, a one person show, it is a two man and one female triumvirate. Logie award winner John Wood, best known for his 12 years in the much loved television series Blue Heelers, brings his laconic Aussie drawl and well-honed timing to four of the 10 Scenes. ‘Youngster,’ South Australian comedian, television actress and singer, Emily Taheny, a regular cast member on long-running satirical news program Shaun Micallef's Mad as Hell, takes confident command of her three monologues, moving from an overbearing Headmistress, morphing into hysterically funny Mindfulness practitioner, Dr Asha Boyd, whose first rule is ‘Don’t obey rules’ and ultimately decimating her daughter’s wedding as the alcohol fuelled mother-of-the-bride in a scene aptly named Toasted.

Wood, who garners applause by simply walking on stage in Rhyme or Reason, delivers a delightful nod to balladists and bush poets Banjo Patterson and Henry Lawson. The entire piece is in rhyme and the cadence and rhythm is impeccable. It is a study in Australiana. The only thing missing as he ‘tips his lid’, is the swinging cork fringe. The event would not be complete without Wood appearing as a policeman and his pursuit of a Mr D Duck, detailed from verbatim notes taken at the time, is a lesson for fledgling actors.

Director and writer FitzSimons understands the humour that is still loved by ‘Boomers’ and the opening night audience, whose laugh out loud responses made it clear that they were loving the show, is a testimony to clever, unsmutty writing (and perhaps a median audience age of 65+)? Take the time to read the very funny programme, undoubtedly penned by FitzSimons, it’s a great read.

Make haste, there are so few performances to see this piece that showcases theatre comedy royalty and a new star in the firmament.

Jude Hines