No Names...No Pack Drill
Fri, 26 July 2002, 10:13 amWalter Plinge2 posts in thread
No Names...No Pack Drill
Fri, 26 July 2002, 10:13 amWHAT: No Names...No Pack Drill
WHEN: Thursday, July 25 (2002)
WHERE: Melville Theatre (WA)
" . . . a catchphrase cliche meaning that one is unwilling to give a name to anyone, such as someone who is guilty of something, as, 'It wasn't Jim who stole the money. I know who it was, but no names, no pack drill.' The expression is military in origin, probably dating from the late nineteenth century . . ."
Set in wartime Sydney, 1942, this WA-written play by Bob Herbert tells the tale of a US Marine who goes AWOL and the Australian girl who takes him in. After being wounded in combat, and reliving trauma from his abusive childhood, Sgt Frank Potter (Travis Vladich) decides he's had enough. After crashing a party at Kathy McLeod's house, he begs to be allowed to stay. Kathy (Fiona Blakeley) takes pity on him.
The play follows their burgeoning friendship, Frank's recollections of abuse from his drunken father (during which you could've heard a pin drop in the auditorium), and Kathy's guilt at not being able to love her own husband (himself a military man, stationed at the front lines). Frank is eager to get back to the US, but needs forged paperwork to board a ship. Through Kathy, he meets local conman and spiv, Tiger Kelly (Shane Hughes).
Travis, Fiona and Shane took the lead roles and ran with them. Although physically imposing, Travis convincingly portrayed a gentle soul, sick of fighting. However, as the play progressed, our sympathies slowly (almost imperceptibly) deteriorated as we realised he was not so much a homesick pacifist, but an honourless coward. Good American accent, too.
Fiona, stunning as always (hey, I'm allowed to be biased), easily carried off the strongest character in the play. Kathy, at home alone, fending for herself, was a strong, believable, take-no-crap woman, probably decades ahead of her time. Coping with the news of the death her husband, she keeps it together and carries on. Her one mistake - falling for the wrong man - leads to an emotion-wrenching conclusion.
Shane is either a damn good actor or a real slimy bastard. Tiger the conman was a nasty piece of work - sexist, abusive, violent, and a coward in his own right, vowing to do whatever it takes to avoid the draft. Yet at times, we almost felt admiration for him as he played the system expertly and allowed nothing to interfere with his own goals. What could have been a cheesy, one-dimensional character was brought to life by a fine performance (particularly in the third Act).
Of the minor roles, I enjoyed Angela Johnson's effervescence and lovely frocks. Luke Martindale's MP was authoritative but still a believable human being, not beyond acts of kindness. Zorina Gavolovich played the meddling landlady whom I'm sure any member of the audience would've cheerfully throttled.
The set was simple but effective. Sound effects were variable (some came from off-stage such as the realistic-sounding toilet flush, but others came over the auditorium speakers). Projection was superb overall. Costumes were great - particularly the military uniforms. Pity we had to rely on the old trick of pencilling a line on the back of some pantyhose, instead of getting authentic stockings though.
Despite the fact that a synopsis in the programme GAVE AWAY THE BLOODY ENDING (!), I was wrapped for most of the production. I'll admit my mind wandered occasionally in the first Act, but by Act 3, as the local cops and military police closed in, I was riveted - literally hunched forward on the edge of my seat. IMHO, this was one of the best productions at Melville Theatre since "Emerald City". :-)
There's been talk lately about local works. As I said at the start, this was written in WA (in 1979). Not entirely new, but a strong, involving, Australian-oriented, locally-produced script that was well served by the fine actors. Congratulations to Melville Theatre and directors Nicola Bond & Peter Kirkwood for this strong, compelling, Australian piece.
JB
WHEN: Thursday, July 25 (2002)
WHERE: Melville Theatre (WA)
" . . . a catchphrase cliche meaning that one is unwilling to give a name to anyone, such as someone who is guilty of something, as, 'It wasn't Jim who stole the money. I know who it was, but no names, no pack drill.' The expression is military in origin, probably dating from the late nineteenth century . . ."
Set in wartime Sydney, 1942, this WA-written play by Bob Herbert tells the tale of a US Marine who goes AWOL and the Australian girl who takes him in. After being wounded in combat, and reliving trauma from his abusive childhood, Sgt Frank Potter (Travis Vladich) decides he's had enough. After crashing a party at Kathy McLeod's house, he begs to be allowed to stay. Kathy (Fiona Blakeley) takes pity on him.
The play follows their burgeoning friendship, Frank's recollections of abuse from his drunken father (during which you could've heard a pin drop in the auditorium), and Kathy's guilt at not being able to love her own husband (himself a military man, stationed at the front lines). Frank is eager to get back to the US, but needs forged paperwork to board a ship. Through Kathy, he meets local conman and spiv, Tiger Kelly (Shane Hughes).
Travis, Fiona and Shane took the lead roles and ran with them. Although physically imposing, Travis convincingly portrayed a gentle soul, sick of fighting. However, as the play progressed, our sympathies slowly (almost imperceptibly) deteriorated as we realised he was not so much a homesick pacifist, but an honourless coward. Good American accent, too.
Fiona, stunning as always (hey, I'm allowed to be biased), easily carried off the strongest character in the play. Kathy, at home alone, fending for herself, was a strong, believable, take-no-crap woman, probably decades ahead of her time. Coping with the news of the death her husband, she keeps it together and carries on. Her one mistake - falling for the wrong man - leads to an emotion-wrenching conclusion.
Shane is either a damn good actor or a real slimy bastard. Tiger the conman was a nasty piece of work - sexist, abusive, violent, and a coward in his own right, vowing to do whatever it takes to avoid the draft. Yet at times, we almost felt admiration for him as he played the system expertly and allowed nothing to interfere with his own goals. What could have been a cheesy, one-dimensional character was brought to life by a fine performance (particularly in the third Act).
Of the minor roles, I enjoyed Angela Johnson's effervescence and lovely frocks. Luke Martindale's MP was authoritative but still a believable human being, not beyond acts of kindness. Zorina Gavolovich played the meddling landlady whom I'm sure any member of the audience would've cheerfully throttled.
The set was simple but effective. Sound effects were variable (some came from off-stage such as the realistic-sounding toilet flush, but others came over the auditorium speakers). Projection was superb overall. Costumes were great - particularly the military uniforms. Pity we had to rely on the old trick of pencilling a line on the back of some pantyhose, instead of getting authentic stockings though.
Despite the fact that a synopsis in the programme GAVE AWAY THE BLOODY ENDING (!), I was wrapped for most of the production. I'll admit my mind wandered occasionally in the first Act, but by Act 3, as the local cops and military police closed in, I was riveted - literally hunched forward on the edge of my seat. IMHO, this was one of the best productions at Melville Theatre since "Emerald City". :-)
There's been talk lately about local works. As I said at the start, this was written in WA (in 1979). Not entirely new, but a strong, involving, Australian-oriented, locally-produced script that was well served by the fine actors. Congratulations to Melville Theatre and directors Nicola Bond & Peter Kirkwood for this strong, compelling, Australian piece.
JB