Red Silk

‘Red Silk’ is a new 100-minute, fictional play based on a period in the life of notorious Massachusetts’s poet, Anne Sexton. In 1967, at the age of only 39, Anne won the Pulitzer Prize for her highly controversial poetry. The author of her ‘enhanced’ story is the multitalented, Fremantle psychiatrist, Dr Lois Achimovich.

This powerful World Premiere (written at the rate of 10 minutes of script per year) is produced by the Blue Room Theatre and Red Silk Productions, and can be seen at the Blue Room Theatre, 53 James Street, Perth Cultural Centre, Northbridge until the 31^st March, performances are at 7.00 pm Tuesday – Saturday.

       In London, it is 1967; a bright spotlight illuminates the podium, Anne (Roz Hammond) moves forward and stands at the lectern. Despite being twenty minutes late for her slot at the annual Auden Poetry Recital, Anne smiles a cheeky grin and casually stubs out her cigarette. She goes on to give a wonderful rendition of her latest work, which contains some graphic feminist phrases and a deep insight to life’s hardships.
       We next see Anne arriving at the practice of an old American family friend, who was her psychiatrist for a decade or so. The friend, Martin (Luke Hewitt), is now internationally famous for his neurological research and less than subtle treatment of the troubled mind. As he pours himself a whiskey, petulant Anne sulks and pouts her mouth like a spoilt child in an attempt to get Martin’s love and attention. Martin however is in no mood, he is obviously furious at Anne.
       The door buzzer sounds and Martin lets in a psychiatrist friend and colleague, Ted (Dan Luxton). With his research now filling all of his time, Martin has passed Anne’s welfare onto Ted for treatment. Ted is an anti-drug practitioner, preferring to treat his patients with a caring and understanding approach. An approach that Martin begins to question.
       It soon becomes obvious that Anne is the pawn, being thrown around in a muddy melange of medical ethics.
       Who has the correct approach, and will the patient’s interests be the real winner?

What a magnificent start to the new Blue Room season, three of Perth’s top actors, directed by one of Australia’s best directors combining to present a brilliantly crafted script.

The writing attracted Perth born, WAAPA trained actor, Roz Hammond back to the West after years of unbridled success on the East coast. Equity’s ‘Actor of the Year’ winner, Luke Hewitt, is wonderful as the domineering, arrogant doctor determined to crush Anne and his colleague – but why? Dan Luxton (who has just finished his teaching degree – congratulations) is at his very best as the perplexed psychiatrist who is not too sure why he is being picked on.

The script has superb dialogue, written for three very different characters. The part of Anne is further subdivided into different moods and emotions. The effect is spellbinding; the audience were in total silence as the storyline unfolds. This is not a psychology lecture, but rather a tale of dastardly events blended with plenty of laughs.

The German born director, Aarne Neeme moved to Melbourne with his family as a child. Then, aged nineteen, Aarne studied ‘Theatre’ in Sydney and he became one of television’s top directors. Aarne has directed dozens of TV soapies episodes and many serious dramas, including ‘Home and Away’, ‘All Saints’ and ‘Blue Heelers’. Although the style of directing for television is very different to that of the stage – with TV the scene can be observed from various viewpoints, you can have close-ups and different height angles – his talent is obvious and we are lucky to have him direct for the Perth stage.

The seating in the theatre consists of three rows of seating against opposite walls, facing the central stage strip. The set (Lawrie Cullen-Tait) consists of white leather, luxury seating which, by being a neutral colour, gives the opulence of the practice without detracting from the emotion of the acting.

Aarne, assisted by dramaturge Pippa Williamson, has shown his immense skill in keeping the action moving, and having the actors move around so they can be seen from angles. This gives an intimacy for the audience, making them feel as though they are actually in the doctor’s room, and involved with the action.

The lighting (Aarne Neeme, John Toussaint, Chris Taylor) was superb, with clever use of lighting levels and angles, and at one point a very fine spot picked out the actor’s face from the total darkness, an amazing effect. The well-chosen mood music ranged from Dame Kiri to Billie Holiday, with a couple of pop tunes of the day, sung in a drunken stupor by Anne.

This is genuine emotion packed drama, presented and performed by a magnificent team. A ‘must see’.

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