Purgatory

Before I embark on the actual review, I first need to thank the Maleny Players for producing this premiere. It’s great to see a community theatre not only taking a risk with a new play but taking a risk with a new play by a local writer. Without support at a grass roots level like this by community theatres, then so many works would never see the light of day. Their “risk” was justified with practically a sold-out season and usually an ecstatic reaction. The giant leaps in theatre are not done by MCT, QTC, STC etc but by productions such as this by the hundreds of this country’s Community Theatres. 

There are so many words that could describe Darren Heskes’ opus – Purgatory. Sweeping, stunning, confusing, brilliant, muddled, genius and original all come to mind. In fact, I have not been so confused about describing a show since What Made Magdalene in the late ‘70s at La Boite!

Right. The super condensed version – it was a story set in an aged care facility (Valhalla Nursing Home) and the shenanigans that ensued when the owner has one eye firmly on the bank balance. 

But even that had a tendency to change as the play progressed. It started off as a broad, normal comedy – almost “Carry On Aged Care”. As it progressed it became a darker comedy. Then music appeared – highly satirical songs that pushed the boundaries further. By the second act it was less of “Carry On Aged Care” and more “One Flew Over the Cuckoo's Nest”. But not to confine itself there, it ended up as a full-blown Wagnerian opera. I will choose my words carefully here – there were so many moments of pure genius caught up in a sea of madness. Its stubborn refusal to define itself was one of this play’s greatest strengths – and possibly one of its biggest weaknesses. 

It certainly was a wild ride! And that’s what made it enjoyable. It needed a leap of faith to really be appreciated. Sit down, fasten your seat belt and hang on as it bucked and swerved through all the different genres. And every time you thought it was about to leave the gravitational pull of its own orbit – it got pulled back to earth by possibly its greatest anchor – “Carry On Aged Care”.  Writer, composer (and director) Darren Heskes cited Richard Wagner, Stephen Sondheim, Bob Fosse, Peter Shaffer and Ricky Gervais as his major influences – and yes, all of these influences can clearly be seen in the show. The direction was generally solid but by being in the actual show as well I think his focus was somewhat split. But still – written by, music composed by, directed by and featuring .. .. .. an outstanding effort. 

It fulfilled so many of a community theatre’s desired demographs. Good, solid characters and many of them for senior aged actors. The large cast did themselves proud as they refused to let the enormity and tangents of this play intimidate them. The “residents” were all modern stereotypes of Aged Care. Roger (Rob Hobson) – who is always complaining about both the quality and lack of food, Ivy and Lily (Denise Hauville and Monica Rogers) – two dotty sisters who have no idea what is going on, Hilda (Marianne Osbourne) – whose prim and proper upbringing has disintegrated into basic rudeness and incredibly potty mouthed. You get the idea. Then there are the antics of the Jeff and Zolton (Simon Jeffcoat and Stewart Luke) – the maintenance / wardsmen / dogsbodies of the Valhalla Nursing Home who add a touch of Rosencranz and Guildenstern to the whole thing. Add to this the fact that the sets, lights, props and costumes were neither complicated or difficult 

There were some absolute standouts including Kathryn Barnes as the Matron Lina Heydrich (an almost straight role until she descends into a full gothic Valkyrie), Richard Jansson as the smarmy and money hungry owner of the Valhalla Nursing Home, Barbara Thomas as Elizabeth Durham (a mute stroke victim whose thoughts are given words by her visualised inner voice – Catriona MaKechnie). Hats off to Barbara who was riveting with only twitching and drooling at her disposal. 

It will keep the audience talking about it long after the curtains have shut. In fact, I don’t think anyone could watch this play and not have a strong opinion about it one way or another. 

To be brutally honest it was far too long (Nearly three hours with an interval). This was because it was an outpouring of creativity, a Tsunami of ideas and a lifetime of creative frustrations being released. No dam was going to hold it.  If it could be edited and pruned then what would be left would be an excellent and challenging, highly entertaining and highly original piece of theatre.

Simon Denver

Photos by Grace Heskes.