When Dad married Fury
Sun, 24 July 2011, 12:52 pmGordon the Optom2 posts in thread
When Dad married Fury
Sun, 24 July 2011, 12:52 pmWilliamson has for many years been at the top of his field, starting forty years ago with ‘Don’s Party’ (recently presented at Melville Theatre, it proved it is still just as funny today), then the bawdy character study of ‘Petersen’, through to such global successes as ‘The Removalists’ and the screenplay for ‘Gallipoli’.
Williamson has always been highly accomplished at capturing and conveying the depth of his characters; now, in his late sixties, he proves that he still has that magic touch.
A young WAAPA theatrical student, Adele (Lauren Lloyd Williams) shouts instructions to the bio box, as she finishes off the lighting design for her next play. Her lesbian partner, Sonya (Casey Edwards) gathers their things together, as they are about leave for Adele’s grandfather’s 75th birthday celebrations.
At home, Adele’s mother Laura (Alinta Carroll) is lying on the floor completing her Dip. Ed homework, a diploma that will open doors for the social reform programme, for Australia’s poor, that she has always wanted to develop. Laura’s easy-going husband, Ben (Jay Walsh) wanders in and announces that his very rich, and yet still money-grabbing brother, Ian (Richard Mellick) is about to arrive with his domineering wife, Sue (Alison van Reeken) who is a retired lawyer, but has lost none of her manipulative and controlling powers.
Ian is petrified that their father (Edgar Metcalfe) may be going senile, as he has just married a big busted mercenary, American Trollope called Fury (Corinne Davies). Although the father is worth a squillion, Ian doesn’t want to see it going to the ‘wrong people’ in his father’s Will. After all it is his father, so he is assured by his wife Sue; he ‘deserves’ at least 50% but may have to settle for 25%. Ian must ensure that his brother is thinking along the same lines, so when at their father’s celebrations their financial future can be confirmed.
Will Adele dare to ‘come out’ at the party? Will she be accepted? Most importantly, who will get the money?
David Williamson’s story is full of twists and turns as the richly developed – and VERY different – characters reveal the depths of their true personalities. I thought the quirky and delightful storyline was going to be another ‘Mother and Son’ episode, but these relationships are much more complicated, and splendidly observed; then when all of the relatives speak out, Hell breaks loose. Williamson hasn’t pulled any punches when raising delicate social issues, but does so in a most light-hearted way though still making you gasp with despair at the attitudes. In turn, the characters all manage to rub us up the wrong way, as their greed increases with fear. I am sure we all have similar relatives. When a person dies, the vultures appear.
The set design (John Senczuk) was simple but effective, with a dramatic graph of the financial index on the rear wall and the floor. This set, with just a few props, satisfactorily covered all of the play’s locations. The lighting design (Trent Suidgeest) was uncomplicated but fine. The new lighting grid looked well-stocked. The perfectly thought-out costumes by Penny Mazzucchelli quickly established the characters.
With the entire cast on stage for most of the play, director John Senczuk had a challenge to keep up the interest and action, and not to simply have a line of talking statues. The cast moved very well, and when certain topics were raised the subtle reactions and resultant movements spoke volumes.
At one point of the story, Sonya goes into her bag and reveals her surprise gift for the party; I think that I would have delayed that moment .... but I don’t have the playwright’s well-earned 4 AFI Awards and 11 Australian Writers’ Guild Awards.
The sides of the stage had simple black drapes, which looked admirable, but at times they absorbed the upper frequencies of the cast’s dialogue, which I hasten to add was still clearly heard but acoustically flat. I suspect that a plain, matte black flat may be advisable in the future. The seating is superb and the eye line clear right to front edge of the stage – which is flat and level with the front row seats. A most pleasant venue, worthy of being named after the fine actor.
The highly talented cast have had to cope with the rapid development of the theatre, along with the teething troubles of this special first production, they performed magnificently. Congratulations to everyone their interactions were most convincing and perfectly timed. An extra praise for Alison van Reeken who depicted the two-faced daughter-in-law amazingly, also to Edgar as the dear old Dad that still has a bit of a bite in his nature. This most enjoyable first offering at the Metcalfe Theatre, will be recalled fondly years from now. With several exciting seasons ahead, may your box office tills always be full.
Williamson has for many years been at the top of his field, starting forty years ago with ‘Don’s Party’ (recently presented at Melville Theatre, it proved it is still just as funny today), then the bawdy character study of ‘Petersen’, through to such global successes as ‘The Removalists’ and the screenplay for ‘Gallipoli’.
Williamson has always been highly accomplished at capturing and conveying the depth of his characters; now, in his late sixties, he proves that he still has that magic touch.
A young WAAPA theatrical student, Adele (Lauren Lloyd Williams) shouts instructions to the bio box, as she finishes off the lighting design for her next play. Her lesbian partner, Sonya (Casey Edwards) gathers their things together, as they are about leave for Adele’s grandfather’s 75th birthday celebrations.
At home, Adele’s mother Laura (Alinta Carroll) is lying on the floor completing her Dip. Ed homework, a diploma that will open doors for the social reform programme, for Australia’s poor, that she has always wanted to develop. Laura’s easy-going husband, Ben (Jay Walsh) wanders in and announces that his very rich, and yet still money-grabbing brother, Ian (Richard Mellick) is about to arrive with his domineering wife, Sue (Alison van Reeken) who is a retired lawyer, but has lost none of her manipulative and controlling powers.
Ian is petrified that their father (Edgar Metcalfe) may be going senile, as he has just married a big busted mercenary, American Trollope called Fury (Corinne Davies). Although the father is worth a squillion, Ian doesn’t want to see it going to the ‘wrong people’ in his father’s Will. After all it is his father, so he is assured by his wife Sue; he ‘deserves’ at least 50% but may have to settle for 25%. Ian must ensure that his brother is thinking along the same lines, so when at their father’s celebrations their financial future can be confirmed.
Will Adele dare to ‘come out’ at the party? Will she be accepted? Most importantly, who will get the money?
David Williamson’s story is full of twists and turns as the richly developed – and VERY different – characters reveal the depths of their true personalities. I thought the quirky and delightful storyline was going to be another ‘Mother and Son’ episode, but these relationships are much more complicated, and splendidly observed; then when all of the relatives speak out, Hell breaks loose. Williamson hasn’t pulled any punches when raising delicate social issues, but does so in a most light-hearted way though still making you gasp with despair at the attitudes. In turn, the characters all manage to rub us up the wrong way, as their greed increases with fear. I am sure we all have similar relatives. When a person dies, the vultures appear.
The set design (John Senczuk) was simple but effective, with a dramatic graph of the financial index on the rear wall and the floor. This set, with just a few props, satisfactorily covered all of the play’s locations. The lighting design (Trent Suidgeest) was uncomplicated but fine. The new lighting grid looked well-stocked. The perfectly thought-out costumes by Penny Mazzucchelli quickly established the characters.
With the entire cast on stage for most of the play, director John Senczuk had a challenge to keep up the interest and action, and not to simply have a line of talking statues. The cast moved very well, and when certain topics were raised the subtle reactions and resultant movements spoke volumes.
At one point of the story, Sonya goes into her bag and reveals her surprise gift for the party; I think that I would have delayed that moment .... but I don’t have the playwright’s well-earned 4 AFI Awards and 11 Australian Writers’ Guild Awards.
The sides of the stage had simple black drapes, which looked admirable, but at times they absorbed the upper frequencies of the cast’s dialogue, which I hasten to add was still clearly heard but acoustically flat. I suspect that a plain, matte black flat may be advisable in the future. The seating is superb and the eye line clear right to front edge of the stage – which is flat and level with the front row seats. A most pleasant venue, worthy of being named after the fine actor.
The highly talented cast have had to cope with the rapid development of the theatre, along with the teething troubles of this special first production, they performed magnificently. Congratulations to everyone their interactions were most convincing and perfectly timed. An extra praise for Alison van Reeken who depicted the two-faced daughter-in-law amazingly, also to Edgar as the dear old Dad that still has a bit of a bite in his nature. This most enjoyable first offering at the Metcalfe Theatre, will be recalled fondly years from now. With several exciting seasons ahead, may your box office tills always be full.
When Dad Married Fury