The writers of Perch should be immensely proud of the stylized and poetic piece of text that they have created. It is unique, revealing, and has the potential to weave some wonderful candid insights into the fragile nature of yearning, regret, and aging. However the production team of this particular staging managed to fulfill very little of that potential this evening. Curiously – they are actually the same people.
It is a great act of faith for any writer to conceive a work, nurture its development and then entrust it to another, much like a parent watching their child leave home. However wise parents and writers know that their ‘child’ will not truly grow into adulthood until they are opened up to the influence of others outside the family.
Theatre is an act of communication. Skilled Directors and Actors can reveal truth through the text. When the writers additionally perform both these other functions, the danger is that they presume a level of knowledge and understanding the audience may not have. That is what may have happened here. I saw a series of wonderful moments and exquisite observations slip by unconnected and underdeveloped. A classic case of being too close to the work.
A one person show is a unique and exacting format. The role of storyteller is magnified a thousand-fold and the delicate interplay between performer and audience must be skillfully conceptualized and executed. It is obvious that Brian Carbee has a unique and graceful physicality, and his dance credentials are as clear as his writing skills. But for me his acting skills were not nuanced enough to carry the text in a fashion that would do it justice. He did not engage the constantly shuffling audience, was frequently hard to hear, and the moments of silence were awkward rather than interesting.
He was not helped by the fact that trying to actually see his face was often near impossible through masks, poor blocking and dim and unpredictable lighting states. Hopefully as the season progresses he will discover where to stand so we can see his face. Its not radio. On the rare occasion we were permitted to see his eyes, I caught a glimpse of a touching sincerity that probably works wonderfully on film. But it rarely carried across into the audience, even in this small space. Perhaps under the guidance of someone who knew him and the work rather less intimately, the missed stage connections may have been repaired.
I was deeply saddened that this production headlines an international Mardi Gras season at Belvoir. We should be showcasing the best queer theatre has to offer and wowing the visitors with the unique talent that pervades both this country and this community. To that end I applaud Sarah Carradine and Brian Carbee as the writers of this piece – the work deserves both to be selected and published, it is interesting and intriguing.
But this particular production does not achieve the level of success that the writing – or indeed the festival – deserves. I wish they had entrusted it to someone else to stage.
Its time to set this work free from its Perch and really watch it fly.
The Leaps in association with Sydney Gay & Lesbian Mardi Gras Festival 2016 presents
PERCH
A solo performance
by Sarah Carradine & Brian Carbee
Director Sarah Carradine
Venue: Belvoir St Theatre | Downstairs Theatre, 25 Belvoir St Surry Hills NSW
Dates: 9 – 21 February 2016
Tickets: $40 –$25
Bookings: belvoir.com.au | 02 9699 3444
