Review of Ad Hoc Theatre's Torch Song Trilogy
Mon, 2 Feb 2004, 08:42 amWalter Plinge5 posts in thread
Review of Ad Hoc Theatre's Torch Song Trilogy
Mon, 2 Feb 2004, 08:42 amI had the opportunity to see the iconic gay theatre piece "Torch song trilogy" on 31st January 2004. This production is an absolute cracker which continues the high standard of play choice, directing, staging and acting which is the hallmark of the Ad Hoc Theatre Company.
Staged at the Gosford Regional Gallery, with tiered seating which permitted everyone a clear view of the proceedings, this long play held a small and respectful (not restrained) audience of about 35 for its entirety. The front row could not have been any further forward without formally joining in the onstage action.
The set is compact, but not cramped, and divided in half horizontally by 2 steps ; these are used effectively in one sequence when 4 of the characters move up and down the steps to explain their interrelationships. Vertically, the stage is divided by lighting ; at times only the left or right half of the stage is lit, and the rest is in darkness. The set is minimalist, with layout suggested rather than detailed -- although there is still a great deal of “business” for all characters, including eating, drinking, washing-up, dressing, undressing, putting on makeup, making beds, and so on -- one brilliant set detail is the red condiment set which allows for a humorous interchange between Ed (Chris Warton) and David (Josh Nott). Typically of Ad Hoc productions, the actors are not bound by the set, as early in the play, Arnold (Paul Russell) breaks the fourth wall and talks to the audience ; later in the play, characters move easily offstage from the set into various parts of the theatre, and back again.
The play is a play of words. Whereas a a David Williamson play about footballers uses monosyllabic responses to suggest undercurrents, this is a New York play about gays. There is a riot of repartee, putdowners, oneliners and bitchy comments -- but all of them are aimed at the real subject of the play: emotional relationships.
Thirty years ago, anyone who produced this play in Australia might have expected a stint in gaol for outraging public decency, but the scribes and hypocrites have moved onto other areas of life to harass. In truth, there is less offensive material than you would see on an average nightÂ’s television viewing. The audience is free to see the core of the play as a search for love, and a search for identity.
Paul Russell plays the part of Arnold Beckoff, a drag queen. We only see him in drag during the first part of the play, wearing a Marg Simpson-like hairdo which is terrifying to behold. For the rest of the play we see him as a normal person, albeit a gay normal person. He is never in doubt as to his identity as he searches for love, but the territory he frequents brings him into contact with Ed Reiss (Chris Warton), a man unsure of his sexuality, who tries various relationships to find out where he fits on the continuum of sexuality, and the continuum of humanity. Both actors are convincing, unrestrained, and work well together. Both display a dynamic range from intimacy to outrage, anger and despair, although Arnold is necessarily the more demonstrative of the 2 ; Ed is happy to talk about love, but not admit to being there.
The other 4 characters are a foil to the 2 main characters, but all are played well, and believably.
Karen Rowe plays Laurel, EdÂ’s understanding wife -- understanding would have to be the understatement of the play, but she has had practice, having been attracted to plenty of bisexual men before Ed! She plays the role in an understated fashion, anchoring the dynamics of Ed and Arnold.
The 2 Joshes also play their roles with empathy. Alan (Josh Knight) is ArnoldÂ’s younger lover, and David (Josh Nott) is his adopted son. David allows us to see the man in Arnold who wishes to be a father, and also allows us to see Alan as a real love interest, not some youthful eye-candy.
Margaret McGowan plays a great cameo role as ArnoldÂ’s Jewish mother who has not come to terms with her husbandÂ’s death or her sonÂ’s homosexuality. There are elements of stereotype in her role, as with the other characters in the play, but they are broken by her humanity. Many will empathise with her comments about her sonÂ’s lifestyle, as she is forced to deal with it or lose her son.
In short, donÂ’t miss this well-acted, sensitively-directed play (director Terry Collins), and donÂ’t be surprised at the emotions it may uncover.
Staged at the Gosford Regional Gallery, with tiered seating which permitted everyone a clear view of the proceedings, this long play held a small and respectful (not restrained) audience of about 35 for its entirety. The front row could not have been any further forward without formally joining in the onstage action.
The set is compact, but not cramped, and divided in half horizontally by 2 steps ; these are used effectively in one sequence when 4 of the characters move up and down the steps to explain their interrelationships. Vertically, the stage is divided by lighting ; at times only the left or right half of the stage is lit, and the rest is in darkness. The set is minimalist, with layout suggested rather than detailed -- although there is still a great deal of “business” for all characters, including eating, drinking, washing-up, dressing, undressing, putting on makeup, making beds, and so on -- one brilliant set detail is the red condiment set which allows for a humorous interchange between Ed (Chris Warton) and David (Josh Nott). Typically of Ad Hoc productions, the actors are not bound by the set, as early in the play, Arnold (Paul Russell) breaks the fourth wall and talks to the audience ; later in the play, characters move easily offstage from the set into various parts of the theatre, and back again.
The play is a play of words. Whereas a a David Williamson play about footballers uses monosyllabic responses to suggest undercurrents, this is a New York play about gays. There is a riot of repartee, putdowners, oneliners and bitchy comments -- but all of them are aimed at the real subject of the play: emotional relationships.
Thirty years ago, anyone who produced this play in Australia might have expected a stint in gaol for outraging public decency, but the scribes and hypocrites have moved onto other areas of life to harass. In truth, there is less offensive material than you would see on an average nightÂ’s television viewing. The audience is free to see the core of the play as a search for love, and a search for identity.
Paul Russell plays the part of Arnold Beckoff, a drag queen. We only see him in drag during the first part of the play, wearing a Marg Simpson-like hairdo which is terrifying to behold. For the rest of the play we see him as a normal person, albeit a gay normal person. He is never in doubt as to his identity as he searches for love, but the territory he frequents brings him into contact with Ed Reiss (Chris Warton), a man unsure of his sexuality, who tries various relationships to find out where he fits on the continuum of sexuality, and the continuum of humanity. Both actors are convincing, unrestrained, and work well together. Both display a dynamic range from intimacy to outrage, anger and despair, although Arnold is necessarily the more demonstrative of the 2 ; Ed is happy to talk about love, but not admit to being there.
The other 4 characters are a foil to the 2 main characters, but all are played well, and believably.
Karen Rowe plays Laurel, EdÂ’s understanding wife -- understanding would have to be the understatement of the play, but she has had practice, having been attracted to plenty of bisexual men before Ed! She plays the role in an understated fashion, anchoring the dynamics of Ed and Arnold.
The 2 Joshes also play their roles with empathy. Alan (Josh Knight) is ArnoldÂ’s younger lover, and David (Josh Nott) is his adopted son. David allows us to see the man in Arnold who wishes to be a father, and also allows us to see Alan as a real love interest, not some youthful eye-candy.
Margaret McGowan plays a great cameo role as ArnoldÂ’s Jewish mother who has not come to terms with her husbandÂ’s death or her sonÂ’s homosexuality. There are elements of stereotype in her role, as with the other characters in the play, but they are broken by her humanity. Many will empathise with her comments about her sonÂ’s lifestyle, as she is forced to deal with it or lose her son.
In short, donÂ’t miss this well-acted, sensitively-directed play (director Terry Collins), and donÂ’t be surprised at the emotions it may uncover.
Re: Review of Ad Hoc Theatre's Torch Song Trilogy
Tue, 9 Nov 2004, 09:42 amWalter Plinge
Goldfields Repertory (Kalgoorlie) and the Garrick Theatre in Perth have done just the third play (Widows and Children First). Both highly successful productions.