Pool (no water)

‘Pool (no water)’ written by British playwright Mark Ravenhill in 2006, was inspired by the true story of a Booker Prize winning writer (A. S. Byatt). It is presented by the Black Swan State Theatre Company and features their HotBed Ensemble. It is being performed at the PICA Performance Space, James Street, Northbridge until the 27^th September. Showing nightly at 8.00 pm, with three matinees.

Due to the nature of this play, NO entry for LATECOMERS.

         Internationally famous artist and financially extremely successful Sally, invites her fellow Bohemians around for an overdue get-together, and to wallow in her new swimming pool. As they dance the night away, they recall how as young art students they would regularly go skinny-dipping, the wild parties and their close friendships. They then talk with admiration of the wonderful generosity of their hostess, her visits to sick children’s wards, hospices and homes of the poor. Now, however, her old friends are battlers, scraping a living together from the odd sale of a painting, are exceedingly envious.

        During the festivities, a horrendous accident happens to the hostess, forcing the substance-abusing friends to hatch an audacious plan. Could their comatose ‘friend’ unwittingly become exploited and thus their next successful artwork?

        What will happen as their now famous ‘gang’ member fades from the earth? What will their attitude to their old friend be like? Will they love or hate her?

Director, Adam Mitchell, employs rapid dialogue with each performer giving a hard-hitting couple of sentences, combined with a Breton style Surrealism (?) delivery, in which the four actors change characters continuously throughout the play. With every cast member playing the comatose patient at some stage. The cast were Arielle Gray, Natalie Holmwood, Jacinta John, Kazimir Sas and Will O'Mahony all selected by HotBed for their special acting talents, which they used to the full.

Alicia Clements’s set consisted mainly of a central unit, about the size of a large snooker table with a surface of changing lights, which was employed as the swimming pool – a very impressive opening scene of the artist swimming – and then as the hospital bed.

Trent Suidgeest’s lighting design consisted mainly of powerful spots at shoulder height, which gave the faces a crisp aura against the stark black background. When the drama hit the various climaxes the lighting would turn to a stark icy cold white. Very well thought out design.

Ben Collins’ sound had some snappy, well synchronised sound effects blended with most effective, creepy low level music which played throughout.

The acting was powerful, the cast’s drive and energy amazing as they tackled this unusual style of acting presentation. Despite the intelligent and admirable quality, this is a love it or hate it play.