Left - David Halgren and Louise HardingRough Hewn Theatre Troupe leads me to (again) ponder the question, what really constitutes professional, or amateur theatre? In this, dictionary definitions aren't necessarily much help. RHTT was, originally, a project of Stella Maris College, Manly: an attempt, I gather to be a vehicle for youthful theatrical talents up and down the northern beaches; a visionary gesture made under the auspices of former school principal, Kerry Stirling and teacher, playwright and artistic director, Ken Granneman. This aspiration went hand-in-hand with the school's privilege, in the form of the Star Of The Sea, a 300-odd seat lyric theatre that, in fact, is one of greater Sydney's better artistic resources.
In many respects, this latest production, directed by Geoff Cartwright, can be ascribed wholly professional characteristics, if professional denotes a capacity for rich characterisation, enviable craft and a flair for 'selling' what might otherwise prove rather inaccessible work to a broad, general audience. Given the assumed limitations of budget, RHTT has substantially fulfilled its vision and mission, in deploying young people, between, say, 16 & 26, 'to tackle renowned classic works that challenge; for young people to cut their teeth on great works of dramatic literature'.
I'm not sure virtual pantomime is the optimum way to exploit the enduring genius of Moliere, but this has been Cartwright's stated ambition for the production. Inasmuch, it not only succeeds, it excels, with cartoon-like depictions of Madame Pernelle, by Honey Bourgeois (could one invent a better name for the stage?); Orgon, by Andrew Drummond; and Tartuffe, by David Halgren.
Bourgeois, in appearing first, set our expectations of caricature, with her nuanced, nostalgic take on the overacting of yore; of the ilk you're apt to see on a rainy Saturday arvo, in an old black-and white. She is one of numerous 'kinder surprises'. She shrieks and whines and complains, pouring out her matriarchal poison on all the household. Her son, Orgon's wife, Elmire (played with Blanchett-like dignity, understatement, composure and finesse, by Louise Harding), comes in for a right hammering, for starters.
The high-pitched tenor is even more exaggerated in the foppish, foolish Orgon, played to the hilt by Drummond. And Halgren's Tartuffe is a masterclass in evil villianhood; from hunched shoulders, to slathering grin, suppressed rage and barely-bridled lust, he slithers through the role, clearly revelling every bit as much as the audience, in every debased moment. Here is the archetypal, 17th-century, albeit more comical, and hypocritical equivalent, of Hannibal Lecter. Or, perhaps, the lovechild of Lecter and take-your-pick of disgraced televangelists.
In a feigned, hands-on appeal for her to recover her modesty, Tartuffe hardly need draw attention to the cup-runneth-over decolletage of Dorine, Orgon's daughter Mariane's outspoken, insubordinate maid and earthy, pragmatic conscience of this parodic piece. The character might as well have been adapted as Doreen, such is the irreverent, anti-authoritarian Aussie grit Katherine Lunny brings to it, in an abundance every bit equal to pectoral proportions.
The abovementioned are the unquestionable stars, notwithstanding a thoroughly creditable and characterful performance from Christian Grant, as Elmire's sensible brother, Cleante and a very likeable turn from Mitchell McDermott, as Valere, Mariane's love interest and enthusiastic suitor. Flipote, Mme Pernelle's maid, played by Chloe Christensen, is a limited role, but Christensen has her heroic chance as Laurent, Tartuffe's undercover manservant. Regrettably, she has a long wait and no opportunity to warm-up and seemed, even in the penultimate performance, unsure of herself. Given that, it was surprising to see Grant stumble so many times. Still, anyone can have an off night and there are a lot of lines. It was distracting, though.
While Camille Pellicer's apparently genuine French accent is enchanting, it did make her lines, as Mariane, difficult to discern. She, too, was a little less than resplendent, though giving good tantrum. And her colleagues set the charisma bar so high, any quibble about her conviction or commitment is an unavoidably comparative one; no real indictment.
While Artin Ayvazian settled into his role, as Damis, Orgon's much-abused son, and well-and-truly reached operating temperature as the evening progressed, as much as his physical performance and capacity for comedy impressed, his timing tended to be a little out and he exhibited a tendency, at times, to strangle or skip too lightly over words.
Louise Harding deserved another mention: the Hollywood musical stairway to heaven set design concept was, apparently, partly her doing (along with Cartwright), as were the truly incredible costumes, which contributed much to the foppery and false bearing. The set predicated the kitsch, throwaway, but immensely entertaining dance segues, which also proved an ingenious stage management trick.
Everything was as it should be, technically, too; 'though I did find the lighting design to be somewhat harsh and glaring, at times.
I think there's much more depth to Moliere: this production skims the surface; but deliberately and unapologetically so. Fortunately, there's enough, even on the surface, to delight, tease and titillate.
Rough Hewn doesn't live up to its name: all things considered and taken into account, this is a brilliant production!
Rough Hewn Theatre Troupe present
Tartuffe
by Moliere
Director Geoff Cartwright
Venue: The Star of the Sea Theatre | cnr Collingwood St and Iluka Ave, Manly
Dates: Oct 28 - Nov 7, 2009
Times: Wednesday to Saturday nights at 7.30 pm
Tickets: $20 adults and $15 concession
Bookings: www.trybooking.com/CDD | at the door
Visit: roughhewntheatretroupe.com
