Left - Permanently Engaged. Cover - Groundtruthing. Photos - Susannah Hart At the risk of blowing my own horn, I've been championing independent theatre for a good many years. But, at the outset, I have to echo the rather overspoken views of the gentleman (even if it was him I expected of loud, serial digestive reliefs) behind, who so forcibly foist his disgust on the poor publicist, which, essentially, were comprised of umbrage at waiting, like a sweaty sardine, in an overcrowded foyer. It was so uncomfortable even I thought of leaving before proceedings even got underway and, while a good look for the opening of yet another successful season of the world's biggest short play festival (or something like that), it wasn't and isn't a good feeling, for patrons, nor a good look for Newtown Theatre's care for its heartland. In other words, Cleary and co really do need to take a good, hard, long look at themselves.
As it was, I managed to sustain my uncool attention (while the theatre proper now has aircon, it isn't really up to the task, especially on a dinky-di summer evening), despite the incessant fidgeting of the adjacent co-patron and small explosions from behind. So, I can't pretend any comments or conclusions I might draw are in any way representative, given the overall programme contains 50(!) new plays. (It's s'posed to be the 'top 100', which seems and, possibly, is, contradictory, with neither Newtown's or Short 'n' Sweet's sites yeilding much, if any, readily apparent light.) That caveat on the table, I can report on 5. The first, written by NSWelshman, Robert Sharpe, was a funny and affectionate speculation on the merits and demerits of 'winning the lottery', with a committed couple tying themselves in tinselled knots over the prospect. Director, Gavin Williams, has acquitted himself with finesse, in his command of Jennie Dibley & Ian Swallow. Sweet, innocent and delightful!
And not, perhaps, without the consolation of a philosophical flourish, with the couple living happily ever after. As to how, well, telling would be spoiling! If only we, as a society, could relinquish greed so readily. Or at all. especially at Christmas, for God's sake (no pun intended). But I digress.
Erryn Arkin's The Terror proved a little too true to name, in form and, moreover, clumsy performances (all Erryn, too). Director, Jamie Laura, failed to discipline Arkin's lapsed delivery of catholic accents, save for the Aussie (not too much of a stretch, one presumes and 'Russell Jackman'). In a ten-minute play, this lack proved too distracting and, even if the script had transcended the performances, it would've still been awkward, annoying and unsuccessful. Which isn't to say there wasn't promise here; which p'r'aps, is what the judges saw ('though with 2000-odd submissions, globally, I can't help feeling the selections end-up being somewhat arbitrary, since the John West principle wouldn't, necessarily, seem to apply).
Groundtruthing had some real heart. but, again, if you can't do accents, or don't have actors who can, please, leave it alone. You won't go blind, but your audience will be agitated. That aside, 'Mexican' Peter Hardy has proved himself an adept playwright; Susannah Russell's direction proving just the ticket, too. This piece boasts good design, structure, clarity, cohesiveness & coherence, pitting the science of climate change against the innate, intuitive Inuit wisdom; counterpointing the counterfeit outcomes of capitalism with the victimised, vandalised natures and sensibilities of native cultures. Darren Killeen as the egghead prof, lacking common sense, and David Villanti, as Putuguq, the 'eskimo', put in and really pull it off. Slight reservation and discomfort persist, however, with regards to the resolution. Nonetheless, this was my silver medallist.
The Controlled Use of Heroin, while choosing a worthy subject (the familial consequences of an addict in its midst), was a travesty and I hesitate to condemn Victorian writer, Traicee Evison-Griffith & director, Hussein Elmoeti, by mentioning their names, as perpetrators. I've no problem with legalising or decriminalising heroin, but I don't want to see plays like this on the streets; 'though at least there's no risk of addiction. Please protect us from pontifications which purport the inside track (again, no pun intended) on complex subjects. This piece is about as knowing as Pauline Hanson. The best of the cast (which, I'm afraid, is saying nothing much) were the silent partners, the shot-up 'brother', played by Annika Loeh, & his junkie spouse, courtesy Sam Camilleri. 'Sister 2' (Morgaine Emanuel) looked, embarrassingly, like a first-timer (I know it's an amateur festival and first-timers are to be applauded, so long as they don't look TOO much the part of not looking the part, if you see what I mean) and brutally overacting mother, Natalie Lalich, in all her shrill, shrieking, unintelligible hysterics, was, sorry to say, utterly cringeworthy. Sister 1, Lana Kershaw, was a somewhat better-crafted sister act; but that's being generous. Don Smith showed some vague hints of underlying craft, but the hodge-podge script and hamfisted master-control ensured this remained barely discernible, at best.
Gold, gold, gold goes to yet another Victorian, in writer, David Clancey, for his Permanently Engaged, directed, more than merely competently, by Katherine R Davis. A deceptively simple, straightforward idea, cleverly developed & unfurled, buoying the audience along, on a comedic wave, which curls neatly to shore. Full marks to mens' room occupants, Ted Crosby & James Belfrage, who ride (or tread) their respective boards in a way, to monster the metaphor, that'd make Layne Beachley envious.
All-in-all, I must confess a creeping notion Short 'n' Sweet might be riding its own wave a little too ambitiously. Is there a whiff of veritable corporatisation about, in its quest for world domination? Is quality being sacrificed. The best are still very, very good. But the worst, really horrid. Just a thought, to muse upon and debate, if you will, vigourously. Go on. Discuss.
Short+Sweet Sydney 2009
Week One
Venue: Newtown Theatre | corner King and Bray Streets, Newtown South
Dates: January 6th to 11th, Tuesday to Saturday at 8.15pm and Sunday at 5.15pm
Bookings: www.shortandsweet.org or call 02 8507 3034
