Cosi - Hayman Theatre
Thu, 20 Mar 2003, 08:52 pmWalter Plinge1 post in thread
Cosi - Hayman Theatre
Thu, 20 Mar 2003, 08:52 pmCan there be anyone left in WA who hasn’t seen at least one production of Louis Nowra’s ‘Cosi’? The play shows a group of mental patients putting on an opera – Cosi fan Tutti. Most theatre productions, like the film, have lighthearted buffoon characters, which whilst being entertaining totally miss the richness of the script’s underlying theme, the fact that the cast of the play within the play are struggling in a medium out of their depth. The Hayman Theatre’s version, under the most capable direction of Mike McCall and his assistant Jos Fitton, whilst retaining the fun and humour of the script, sensitively showed the depth of the inmates suffering and confusion. McCall has tried to give newcomers a chance at acting and, with one exception, was very richly rewarded.
From the opening scene with the simple, but very effective set by Brian Woltjen and Cassie OÂ’Halloran, complemented by excellent lighting and sound, one knew that a great deal of thought had gone into this production.
Brent Hill (Risky Lunar Love) was brilliant as the manic Roy, obsessed with putting on his Italian opera. Lara Thew as the sexually frustrated and jealous Cherry, and Theresa Jakovich as the totally introverted and neurotic Ruth were stunning. Josh Price, another name to look out for in the future, despite being about 6 ft 4 ins tall managed to make the character of Henry, a failed lawyer, shrink and regress into a pathetic soul. Because of the quality of the female actors auditioning, the part of Zac was made female and played by Jes Craig-Piper who gave the part plenty of humour.
The characters were not caricatures, but real sad cases well observed by the cast, and when the ward eventually succeeded in putting on the opera, one felt the same sense of pride for them as you do watching your child in a school Nativity Play. The show left you with a warm glow and a better understanding of an often-undiscussed section of society.
From the opening scene with the simple, but very effective set by Brian Woltjen and Cassie OÂ’Halloran, complemented by excellent lighting and sound, one knew that a great deal of thought had gone into this production.
Brent Hill (Risky Lunar Love) was brilliant as the manic Roy, obsessed with putting on his Italian opera. Lara Thew as the sexually frustrated and jealous Cherry, and Theresa Jakovich as the totally introverted and neurotic Ruth were stunning. Josh Price, another name to look out for in the future, despite being about 6 ft 4 ins tall managed to make the character of Henry, a failed lawyer, shrink and regress into a pathetic soul. Because of the quality of the female actors auditioning, the part of Zac was made female and played by Jes Craig-Piper who gave the part plenty of humour.
The characters were not caricatures, but real sad cases well observed by the cast, and when the ward eventually succeeded in putting on the opera, one felt the same sense of pride for them as you do watching your child in a school Nativity Play. The show left you with a warm glow and a better understanding of an often-undiscussed section of society.
Walter PlingeThu, 20 Mar 2003, 08:52 pm
Can there be anyone left in WA who hasn’t seen at least one production of Louis Nowra’s ‘Cosi’? The play shows a group of mental patients putting on an opera – Cosi fan Tutti. Most theatre productions, like the film, have lighthearted buffoon characters, which whilst being entertaining totally miss the richness of the script’s underlying theme, the fact that the cast of the play within the play are struggling in a medium out of their depth. The Hayman Theatre’s version, under the most capable direction of Mike McCall and his assistant Jos Fitton, whilst retaining the fun and humour of the script, sensitively showed the depth of the inmates suffering and confusion. McCall has tried to give newcomers a chance at acting and, with one exception, was very richly rewarded.
From the opening scene with the simple, but very effective set by Brian Woltjen and Cassie OÂ’Halloran, complemented by excellent lighting and sound, one knew that a great deal of thought had gone into this production.
Brent Hill (Risky Lunar Love) was brilliant as the manic Roy, obsessed with putting on his Italian opera. Lara Thew as the sexually frustrated and jealous Cherry, and Theresa Jakovich as the totally introverted and neurotic Ruth were stunning. Josh Price, another name to look out for in the future, despite being about 6 ft 4 ins tall managed to make the character of Henry, a failed lawyer, shrink and regress into a pathetic soul. Because of the quality of the female actors auditioning, the part of Zac was made female and played by Jes Craig-Piper who gave the part plenty of humour.
The characters were not caricatures, but real sad cases well observed by the cast, and when the ward eventually succeeded in putting on the opera, one felt the same sense of pride for them as you do watching your child in a school Nativity Play. The show left you with a warm glow and a better understanding of an often-undiscussed section of society.
From the opening scene with the simple, but very effective set by Brian Woltjen and Cassie OÂ’Halloran, complemented by excellent lighting and sound, one knew that a great deal of thought had gone into this production.
Brent Hill (Risky Lunar Love) was brilliant as the manic Roy, obsessed with putting on his Italian opera. Lara Thew as the sexually frustrated and jealous Cherry, and Theresa Jakovich as the totally introverted and neurotic Ruth were stunning. Josh Price, another name to look out for in the future, despite being about 6 ft 4 ins tall managed to make the character of Henry, a failed lawyer, shrink and regress into a pathetic soul. Because of the quality of the female actors auditioning, the part of Zac was made female and played by Jes Craig-Piper who gave the part plenty of humour.
The characters were not caricatures, but real sad cases well observed by the cast, and when the ward eventually succeeded in putting on the opera, one felt the same sense of pride for them as you do watching your child in a school Nativity Play. The show left you with a warm glow and a better understanding of an often-undiscussed section of society.