Lord of the Flies - Whiplash Theatre - Subiaco Arts Centre

This innovative adaptation of a long studied novel and well known film may rub some purists up the wrong way; however the interpretation is the prerogative of the Director. In Whiplash Theatre’s current offering of William Golding’s Lord of the Flies, Gregory Jones has with his stylistic choices, I feel given us an interesting and challenging take on the classic, and a production I’d encourage you to experience.

Jones’s notes in the programme refer to the fact that he has directed this play before, and suggest that he chose a more realistic interpretation that time. In this current production however, he has gone for a symbolic approach.

“The story transcends our physical environment for it deals with the secrets of what is profound about being human” Gregory Jones

Symbolism as a theatrical movement started emerging in the late 1800s when Realism was being seen by some as spiritually bankrupt, confined by literal and mundane details. This stylised type of theatre wielded reality in unexpected ways, and enhanced it with symbols and metaphors. With a goal to fracture the boundaries of Realism, practitioners employed a metaphorical use of the stage. Jones harnessed these principles by utilising lighting effects, shadows and colour to represent settings and time. Avoiding any attempt at scenic realism, the trappings of the classroom were adapted to suggest everything required for the fantasy. Desks, rulers, stools and paper became shelters, hills and fire. Integral to the creation of the environment was the overhead projector which, in the opening minutes of the play held the boys in silent submission and continued to represent a source of power throughout, being the source of illumination on Ralph’s final crushed expression.

As opposed to a Realistic approach, in Symbolic theatre, characters represented forces of nature or moral positions and often highlighted problems in the human condition. With similarities to other emerging theatrical conventions of the time, the audience was reminded that they were watching a show and not expected to suspend their disbelief, nor invest in the reality of the presentation. They were invited instead to listen, understand, consider and debate the subject matter. Approaches also encouraged in the school curriculum, which is perhaps another reason Jones and the production team designed the show thus. With this style, came a new realm of freedom to explore dark themes, such as acting on our inherent capacity for evil, in a way that allowed the audience to remain slightly distanced. In this production, the contemporary themes of bullying and exclusion also came to the fore.

The young men cast are in their late teens and early 20s which meant they brought both the sweetness and naivety of youth where required and yet had the maturity to delve into the deeper elements of their characters.

Daniel Garrett, in the central role of Ralph, gave an emotionally committed performance and his dedication did not waver. His physical stage presence dominated from the carefree moment when he ripped of his school shirt to go swimming in the lagoon to the final and heartbreaking image of him left alone by the fire. From my vantage point in the front row I had the benefit of being able to see the focus he held and the subtle interactions between him and the rest of the cast, regardless of the whereabouts of the action. His sensitive portrayal of Ralph’s conflicted journey, torn loyalties and desire for decency was awe inspiring. He was beautifully cast in the role and I will be interested to see him transfer his skills to other works in the future.

We first met Jack Meredew, played by Nick Maclaine, leading the choir boys to the beach in response to Ralph’s call on the conch shell. Nick generated a supreme ambience from the outset which only grew as the story unfolded. His beautifully rounded accent and commanding stance established Jack as a force to be reckoned with. Even as his character seemed to degenerate into a savage, I was able to maintain a sense of empathy for his journey. Nick showed Jack as a boy who was thrust willingly into the role of a man in response to the other boys’ need for a leader. Nick’s cutting dialogue was delivered with power, passion and fine diction. Overall, it was a captivating performance given by a very promising young actor.

Izaak Lim created an endearing representation of the famed and sympathetic character of Piggy. He had a sound grasp on the slightly more working class accent, with his breaking voice and stuttering delivery enhancing the vulnerable nature of the ill fated boy.

The first character to fall victim to the descent into anarchy was Simon, played by Daniel Klemens. Initially portrayed as an innocent dreamer with notions of idealism, right and wrong, it wasn’t long before we were allowed to see the flawed interior of the character, and indeed the social concepts he represented. Separated from the group, both physically and metaphorically he was overwhelmed and overcome. Simon’s final monologue allowed Daniel the freedom to extend himself and, even while working under dynamic staging conditions, build the scene to an intense peak. It was an impressive display of range from this young actor.

The gang of hunters, played by Nicholas Hiatt, Andrew Douglas, Ben Kotovski-Steele and Trell Baynham really came into their own in the second act when they emerged with their bare torsos and faces covered with body paint. Revelling in the freedom of savagery and chaos, they claimed Castle Rock and terrorised the group on the beach. Feeding on each other’s energy, their feverish movements and fast paced dialogue soldered the group. Like parts of one body they moved in unison around the stage and frantically between entrances and exits, their voices echoing around the space to create an atmosphere of menace.

David Richardson and Adam Dear were beautifully cast as the twins, Sam and Eric. They had a great chemistry and the synchronicity of their voices and expressions were well practiced.

My reaction to Thomas James’s portrayal of the younger student, Perceval was two-fold. During his first interaction with Ralph and the older boys, I was touched by his distress and the desperate search for reassurance and protection he craved. Given, his physical mannerisms and sense of emotional vulnerability, I would have placed his character at about 12 years old and I was utterly engaged by his performance. My belief in Perceval’s journey and his connections with the various groups did wane a little at his journey progressed. I feel that Thomas has a lot of potential as an actor, but that the subtlety required of him for this role was just a little out of his reach at this point in his experience. With that said though, physically he was an ideal fit within the group dynamic

As an ensemble performance, this group was tight. They had great chemistry and supported each other beautifully. Their line pick up was very sound given that there is quite a lot of disjointed and repeated dialogue. The second act is considerably shorter than the first, which is quite a welcome result given the intensity of Act I, at the end of which, we all sat captivated for a few moments before applauding.

The end of the play felt anti-climactic and yet I suspect that is the way it was intended. The sharp shock of a sudden adult presence was enough to dissolve the fantasy almost instantly. In this particular adaptation, with the return of the teacher and the simple act of switching on a light, it was suggested that the journey never went beyond the classroom walls. Was this really just a game? If so, it was one that some characters were playing, and some were being played.

Tickets sales are going well. Book through BOCS to secure yours for one of the final shows.  The season closes on July 4.