Left - Darren Gilshenan. Cover - Darren Gilshenan and Lachy Hulme. Photos - Tracey SchrammAdapted from a highly popular Norwegian literary trilogy by Ingvar Ambjørnsen, Elling is the tale of two dysfunctional social outcasts who have been released from a mental institution and put up in an apartment in downtown Oslo by Social Services, in the hopes that they will learn independence and reintegrate into society. Having become friends while in the asylum – and somewhat codependent ones at that – they naturally find the challenges and temptations of “normal” life somewhat daunting, but eventually their tentative explorations bear unexpected fruit.
This odd couple consist of the titular Elling, a self-described mother’s boy who is intelligent, easily panicked and reclusive, and Kjell Bjarne, a loud, lovable manchild with the same bouncy attitude and persistent lust for food and women as a priapic puppy. As the more worldly and thoughtful of the pair, Elling makes most of the decisions, but Kjell Bjarne begins to drift away when he rescues and befriends Reidun, their single (and heavily pregnant) neighbour who seems odd enough herself to fit right in with these two alumni of the asylum. Once adequately miffed by the obvious romance in the wings to actually go out on his own, Elling discovers his calling in underground poetry and befriends Alfons, himself a retired poet.
It is in many ways a fairly simple story, and if mere plot were the only consideration it could doubtlessly be told in half the time and still have considerable merit. However, this is quite a contemplative play, one which takes the space to breathe and examine its characters in great detail through their interactions and gradual development, and is all the better for it. Although very funny it is not quite a comedy, neither is it heavy enough to become a full-blown drama, nor sad enough to split the difference and become tragicomedy. Straddling these genres, it explores the lives and hearts of two of those that have found themselves outside of mainstream society, struggling to achieve a semblance of self-determination, and yet it never strays into either the maudlin, saccharine or didactic.
Indeed, dealing as it does with subject matter that could easily be either crushingly earnest or unpalatably frivolous in its portrayal of the mentally ill, perhaps one of the more endearing strengths of play is that it treats these characters with equal parts respect and irreverence, allowing them to come across as human beings who, although they do make us laugh, are far from being subjects of ridicule. On the contrary, we find ourselves becoming very much invested in their journey, and while their difficulties in dealing with aspects of life we take for granted may seem merely comical at first, eventually one beings to relate to these characters and find that their tribulations in finding love, friendship and a vocation mirror our own in more than we may have expected.
Originally adapted from Ambjørnsen’s novel by Axel Hellstenius and Petter Næss, translated by Nicolas Norris and further adapted for the British stage by Simon Bent, this production is ably directed by the much-loved Pamela Rabe who is of course best known for her own formidable acting career. Using a large, fairly bare configuration of the Wharf 1 stage with initially only a few pieces of furniture backed by a plain wall, the space is gradually filled with an increasing clutter of flotsam and jetsam as it changes and shifts (sometimes literally) to become different settings. There are some sparkling touches of theatrical magic here, with the back wall occasionally opening up to reveal hidden compartments at various points in the story like windows into other worlds, as well as a simple yet effective running gag in which a wardrobe is periodically opened to reveal that various large objects have either appeared or vanished in the interim without any interference from the cast.
One wonders a little at the choice of programming the play for this particular space. It’s not that it doesn’t work at Wharf 1, obviously, but rather that it seems a production that could have been staged just as successfully in a tighter environment. Indeed, this rather intimate tale may have benefited from a similarly intimate venue, for although many plays with small casts and roomy sets have been effective in this space, Elling’s action occasionally seemed a little bit dwarfed by its surroundings.
Rabe has marshalled an excellent cast, headed by the inimitable Darren Gilshenan in the title role. Armed with his familiar arsenal of brilliant schtick used to such great effect in comedy blockbusters for the Bell Shakespeare Company such as The Servant of Two Masters and The Government Inspector but displaying here added dimensions of nuance and pathos, Gilshenan delivers a performance that is thoroughly perfect for the role. Entirely different yet matching him strength for strength is Lachy Hulme as Kjell Bjarne, making wholly endearing a persona that could very easily become boorish or monotonous. A marvelous foil for Gilshenan, Hulme completes this heartwarming and hilarious double-act.
Frank Whitten is very good as always in the part of generous but lonely poet Alfons, most of his performance being in the second act but making a strong impression nevertheless, and Glenn Hazeldine brings a lot of life to the straightforward character of social worker Frank, who holds the power to prolong or curtail our protagonists’ experiment in living independently. Especially fine is rising star Yael Stone, who impressed in Frankenstein and reaches new heights here, doubling in a few memorable bit parts early on before assuming her primary role as Reidun, an eccentric young woman whose full story we never really discover but to whom Stone successfully gives hinted layers of depth that make her both a likable, curious character and an oddly believable match for the gentle, ebullient Kjell Bjarne.
Although not a play for the impatient or cynical, Elling is a well-executed production of a captivating and heartwarming tale, and the experience of it is one that is ultimately very rewarding.
Sydney Theatre Company in association with the Ambassador Theatre Group presents
ELLING
Based on a novel by Ingvar Ambjørnsen. Stage adaptation by Axel Hellstenius in collaboration with Petter Næss. Translated by Nicholas Norris. Adapted by Simon Bent
Director Pamela Rabe
Venue: Wharf 1
Dates: 30 May to 12 July 2009
Tickets: $30 to $75
Bookings: 9250 1777 or www.sydneytheatre.com.au
TOUR:
Playhouse, Riverside Theatres, Parramatta
29 July - 1 August
www.riversideparramatta.com.au
Canberra Theatre Centre
5 - 8 August
www.canberratheatrecentre.com.au
Civic Theatre, Newcastle
12 - 15 August
www.civictheatrenewcastle.com.au
Glen Street Theatre
19 - 30 August
www.glenstreet.com.au
Wollongong
2 - 6 September
IMB Theatre, IPAC
merrigong.com.au
