The Swimming Club

‘The Swimming Club’ was written by Australian marvel, Hannie Rayson. This is a co-production by the Black Swan State Theatre Company and Melbourne Theatre Company. This 2 hrs 30 minutes play is showing at the Playhouse Theatre, Pier Street, Perth until the 18^th April. Performances at 7.30 pm.

         WA archaeology lecturer, Kate (Sarah McNeill) phones her tired solicitor husband, Dave (John Waters) from her overseas conference, reeling off a myriad of instructions and ‘do’s and don’ts’ relating to her Goth daughter, Sappho (Megan Holloway).

         Kate then receives a call from an old heartthrob, Jasper (Igor Sas), a poor, Slovenian chap that she met a quarter of a century earlier. He reminded her of ‘The Swimming Club’, and how the group of youths met on a Greek Island in the mid 80s. He suggested a reunion, inviting Dave, Kate and her sister Bird (Caroline Gillmer). Jasper said that he had managed to find the lone Canadian, female motorcyclist, Laura (Tina Bursill) who had been touring the world on her Harley. The Greek local, Nikos (Nicholas Papademetriou) would arrange the accommodation.

       ‘They would relive the joys of their youth.’ However, lifestyle and people change.

This is an exceptionally funny play, with several witty lines being applauded by the audience. It was not written in Hannie Rayson’s normal style, but there is still sadness and tension blended into a mosaic of life, but the overall feeling was one of joy.

Talented director, Kate Cherry, kept the pace bouncing along, with few set changes. The cast were superb, their energy was amazing. Sarah McNeill, who stepped into the part only hours earlier, was faultless, totally capturing the confused mind of the bored wife seeking reinvigoration. Igor Sas has performed the full range of genres, but this is the first time that I have seen him in comedy, he was magnificent – the star of the show. John Waters, whilst being as good as ever, must have felt like a vegetarian amongst the meatier parts of the other characters.

The set (Christina Smith) was an expanse of beach, with black glass panels, c.f. Equus, which reflected the sand and backdrop, cleverly trebling the perceived area of the stage. Simple but highly effective. Coupled with Matt Scott’s precise choice of lighting colours, the Mediterranean hues were stunningly recreated. Russell Goldsmith’s sound effects and music were subtle. Claudia Alessi’s choreography and movement gave excitement and joy to the audience, especially ‘Zorba’s Dance’.

The most enjoyable show at the Playhouse for many a month. You will love it.