‘Titanic’ and ‘Naomi in the Living Room’ are both very funny plays. Christopher Durang, their playwright, is a very funny writer; 'Mr. Durang
is one of our theater’s brightest hopes – he knows how to write funny
plays, which makes him a rarity… he manages to combine all three
modes farce, satire, good-humored wackiness (Sylviane Gold, Wall Street Journal); 'Christopher Durang is one of the funniest dramatists alive, and one of the most sharply satiric.’ (Edith Oliver, The New Yorker)
The two plays comprise a double bill performing at the Newtown Theatre as part of the Mardi Gras Festival.
The plot of ‘Titanic’ is convoluted to say the least. It involves the Tammurai family comprising Victoria, played by Jan Langford-Penny, Richard, Richard Mason, and Teddy, Will Snow. Then there is Annabella/ Harriet Lindsey, Megan Drury
who at one and the same time is either the unnatural offspring and/or
sister of Victoria as well as doubling or trebling as Lidia, the
daughter of the Captain of RMS Titanic, played by Jonathan Elsom on board whose fated ship the events take place.
It is a fairly obvious choice for Mardi Gras since, as the director, Jonathon Wald notes, it has currency ‘in terms of its depiction of characters with extremely fluid sexuality’.
The play was written in 1974 and premiered at the Yale School of Drama
the same year, moving onto The Direct Theatre in New York two years
later.
There is to be sure a good deal of sexual allusion in the dialogue as a ‘joyous expression of sexuality’
(Wald). Beneath this parody of sexuality there lies something more
sinister and more damning. The Director alludes to it in the comment ‘Durang
… explore[s] the characters' uptight English morality and expose[s] the
real sexual and emotional dynamics which lie beneath the facade of
polite behaviour.’ The truth is that the behaviour is anything but polite.
Being Catholic by upbringing Durang
is very aware of symbolism as it is associated with faith at all levels
and the power it has on our subliminal senses. He engages it here at
the highest level seen in his work with the possible exception of ‘Mrs Bob Cratchit’s Wild Christmas Binge’ combining it with absurdist elements presented in a widely stretched reality.
The key to the drama is not so much the sexual
proclivities although they make for a rare breed indeed. It is the need
in the characters to see themselves as something other than what they
are, regardless of how variant perception may be from reality. Sex is
only the icing not the cake. The characters in ‘Titanic’ irrevocably have been denied the gift to which Robbie Burns pays homage, ‘to see ourselves as others see us’.
The
imagery of the fateful Titanic is obvious as is the appearance of its
captain with strapped dildo as a latter-day unicorn. Even the hamsters
and seagulls that nest in Lidia’s vagina have seen multiple
manifestations. It reaches its height, however, in the duality seen in
the younger generation where Teddy crosses over with the sailor played
by Tom Oakley and Lidia runs amok between her several incarnations.
What is at the core of Durang’s biting satire
is not the British upper class but the seduction and exploitation of
the following generation of Americans by his own rapacious one.
This may well appear to be a gay sex romp but the consequences to which Durang
was trying to draw attention are as bitter and tragic as those that
shaped the poetry of W. H. Auden. In the hiatus of the twenties and
thirties, in Britain, he watched a shell shocked society helplessly let
its youth be sucked into the vortex of a storm that very nearly
annihilated them.
Durang’s work is not ‘ahead of its time’, it’s a creature of it. We are now witnessing what he foretold. It is at the crux of Marius von Mayenburg’s ‘The Cold Child’
seen last year at the Griffin. The tragedy in this country is that
thirty years ago we never gave our playwrights the voice to tell it in
our own idiom and so we have to read it in the observations of
outsiders. Their language is not our language and their images are not
ours and so we sometimes miss the point. When the soul has died the
only language left is sex, greed and death. Our youth now binge and
suicide and we now look for answers. Those answers are in the past.
It’s no good saying sorry.
It’s
a fun play, there is no denying but you should walk out wishing you had
never seen it. In this respect the present production fell somewhat
short.
As a production it is tight and has a great deal of energy. It’s beautifully presented through the joint efforts of James Croke’s set design, Larry Kelly’s lighting and Paul Matthews’s costumes
in a space that is demanding in terms of both design and performance.
The underlying issues however are skated over and regardless of the
entertainment the message still needs to be there.
Music by Kyls Burtland and sound by Michael McMenomy contributed well to the general staging and the choreographed set changes were inspired.
The styles of acting seemed out of sync ranging from that of realism to borderline pantomime. Durang’s
play’s can be performed in a variety of styles but they need an over
arching integrity. This could be symptomatic of its stage in preview
and it may well have cohered in later runs.
Outstanding in terms of connection were the performances of the doubtful siblings by Snow and Drury who came together in some of the most hilarious and moving scenes of the play.
Naomiis a far lighter piece, thank God. The
play is the first of the two presented in the double bill, a short one
Act cartoon. It is a parody at which you can laugh and thank God you’re
not related or wish to heaven you weren’t as the case may be.
The cast comprising Nick Curnow as John, Shannon Ellis as Johnna and Odile Le Clezio as Naomi were very much the quintessential caricatures seen in Durang’s
character sketches. The direction by Augusta Supple overcame the
greater than usual limitations presented by the Newtown Theatre space
having to occupy the foyer while ‘Titanic’ took up the auditorium. In this piece the dramatic styles were well matched and coherent.
It isn’t a story so much
as an interlude somewhat in the style of Basil Fawlty with Naomi making
her son at home in the only way she knows how, humiliating him. Johnna
just happened to be the bug that got caught on the windshield.
Hot Seat and Brave New Theatre present TITANIC andNaomi in the Living Room
Venue: Newtown Theatre | Cnr King & Bray Sts, Newtown Dates: Feb. 20th (Preview) to Mar. 8th Times: Tuesdays - Saturdays at 8pm Tickets: $28/$24 Tuesday nights pay-what-you-can at the door only
Wednesdays 'Hello Sailor' nights: 2-for-1 if you dress as a sailor Bookings: 1 300 306 776 or www.mca-tix.com
‘Titanic’ and ‘Naomi in the Living Room’ are both very funny plays. Christopher Durang, their playwright, is a very funny writer; 'Mr. Durang
is one of our theater’s brightest hopes – he knows how to write funny
plays, which makes him a rarity… he manages to combine all three
modes farce, satire, good-humored wackiness (Sylviane Gold, Wall Street Journal); 'Christopher Durang is one of the funniest dramatists alive, and one of the most sharply satiric.’ (Edith Oliver, The New Yorker)
Naomi is a far lighter piece, thank God. The
play is the first of the two presented in the double bill, a short one
Act cartoon. It is a parody at which you can laugh and thank God you’re
not related or wish to heaven you weren’t as the case may be.
