The Chairs

The Chairs

The Chairs Rating

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The Chairs is a creative vaudeville, circus style play about an elderly couple, simply known as the Old Man and the Old Woman presented by The Melville Theatre Company and directed by Virginia Moore Price.

Written by Eugene Ionesco in the 1950s, it is quite an absurd tale in which the elderly couple reflect on their life over the 70 years they’ve been married. This indicated that they would be in their 90s. At the beginning I struggled to understand what was happening and their conversations seemed nonsensical. A sign of the deterioration of their memories and their minds.

The couple prepare to receive guests for a lecture of some sort which never eventuates and their guest of honour, the Orator. They frantically gather chairs for the guests and dump them onto the rotating floor in a comedic fashion. The guests, however, are invisible to the audience. Whether the old couple are imagining them or whether they are actually real to the couple, left me unsure.

The couple’s fragmented recollections and contradictory chronologies evoke signs of dementia. This is particularly evident when the Old Woman recalls having a son who died when he was a child and reflecting on the grief of losing a child but the Old Man recalls the couple not being able to have any children and instead reflecting on the grief of his mother’s death.

 

 

Although it is clear they both deeply care for each other, there are moments of regret and a sense now that their lives are very soon coming to an end. Throughout the play the Old Woman continuously reminds the Old Man how he could’ve been a head general or a head comedian much to both of their despair. The Orator Raven who whilst is visible to the audience throughout the entire play as he sits on the rotating floor, is only visible to the couple towards the end perhaps signifying death.

Ionesco gives plays into the delusional state of mind of the elderly couple by having them set in a circus ring with both dressed as clowns and the Old Man performing as a mime artist.

Zane Alexander and Solanje Burns deliver a phenomenal performance as the Old Man and Old Woman holding the attention of audience for the entire play without an interval. There were moments of interaction with the audience when they both tumble off the stage and weave themselves into the audience while they continue their nonsensical dialogue.

At the heart of The Chairs is two people longing to be seen and heard, trying to make sense of the lives they have lived.

To book tickets to The Chairs, please visit https://melvilletheatrecompany.au/current-production.

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Letters To Lindy Review: Melville Theatre Company

Letters to Lindy

Letters to Lindy Rating

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3

Letters to Lindy, presented by Melville Theatre Company, is a profound and deeply affecting theatrical work by Alana Valentine that offers a poignant and genuine look into one of our era’s most gripping legal and human stories. The court case captivated a nation: a mother accused of murdering her child, her claim – that the baby was taken by a dingo – denied and discredited by zealous police and a flawed legal system.

The media circus, the rumours, the nation’s prejudices laid bare. And in the eye of the storm: Lindy Chamberlain-Creighton. Valentine draws on thousands of real letters sent to Lindy, along with interviews with her, to create an enthralling and long overdue dialogue between Lindy and the nation. A portrait of the wisdom and resilience of a grieving mother. Themes of national obsession, group mentality and prejudice feel uncomfortably familiar today, leaving you pondering the nature of truth, justice and humanity.

I was immediately struck not only by the sheer force of the script but also by the formidable strength and commitment of the four-woman cast; they delivered monologue after monologue with precision, nuance and emotional depth. The actresses portraying the supporting roles (referred to as the “figures”) segued between a multitude of characters with remarkable clarity and agility, often shifting tone, physicality and voice in a matter of seconds.

I was particularly impressed with the technical skill and emotional range of Ellin Sears, whose scenes resonated with quiet intensity and left a lasting impression. Her ability to convey vulnerability and determination in the same breath was extraordinary.

 

 

The minimalist set is stripped back in scenery, costumes and décor, yet makes striking use of numerous props. Boxes of letters line the backstage area like a looming archive of public opinion, and multi-purpose wooden crates are shuffled and reassembled to signify different settings and moments.

The “figures” double as stage managers, shifting the crates almost subliminally as the story progresses, and the precision of this choreography reflects impressive, well-rehearsed direction. There is no backdrop, and I did feel the addition of one could have further immersed the audience and provided clearer geographical context. All the costume changes are carried out in full view from a portable clothes rack; an interesting choice, though at times it distracted from the performances unfolding. The lighting design is harsh and intentionally so, bathing the stage in an unforgiving glare that mirrors the scrutiny surrounding the case.

This powerful play balances warmth, delicacy and moments of in-your-face dark humour, offering both emotional weight and surprising levity. Theatre critics have rightly described Valentine’s work as a “masterclass in verbatim theatre,” and this production shows why.

It handles sensitive material with care while retaining dramatic potency. Melville Theatre Company has not only done justice to “Letters to Lindy” but delivered it with conviction, heart and finely tuned craft.

To book tickets to Letters to Lindy, please visit https://melvilletheatrecompany.au/current-production.

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Heart Lines

Heart Lines

Heart Lines Rating

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2

Written and directed by West Australian award-winning playwright, Kerry Bowden, Heart Lines delivers a heartfelt and thought-provoking play between heart donor and heart recipient.

The play directs the audience to view the heart as being more than just a vital organ of the body.

Having never met the family of his heart donor, 23-year-old heart recipient, Noah, played by Nick Stevenson, records several video blogs to the family, expressing his gratitude and how his life has changed for the better since his heart transplant operation. This clever embodiment of these monologues in the form of video blogs in the play allows the character to speak from the heart directly to the audience.

Noah ponders on the type of person his heart recipient was and how he wished he knew more about the recipient.

Through a series flashbacks, the audience are taken back into of the lives of three young housemates living in Fremantle, Western Australia. Like many other young Australians in their early twenties, Anna, James and Tim are juggling university studies with part-time jobs whilst also squeezing a bit of time to socialize. At first, it is unclear as to which one of these housemates becomes the heart donor but as the play progresses, the new traits and hobbies Noah has developed since his operation are so strikingly similar to one of them that there’s a poignancy knowing this character is going to die.

 

Noah makes a point about the bittersweetness of heart transplants. The obtaining of a healthy heart has meant the death of another person. In this instance, that other person is only twenty years old.

The play is cleverly written as full-circle story. Noah, who is from the Gold Coast, is drawn to the other side of the country Perth, the hometown of his recipient and even more so to Margaret River where his recipient loved to surf. Although unaware, Noah also crosses paths with people who knew the recipient.

To effectively switch between scenes of Noah’s video blogs and the flashbacks, a warm spotlight is used on Noah, bringing an intimate feel to his messages whereas bright fluorescent lighting is used to capture the upbeat and carefree lives of the housemates in the flashbacks.

At only 70 minutes long, Heart Lines is a short and sweet play presented by the Melville Theatre Company who will contribute $1 for every ticket sold to the non-for-profit organization, The West Australian Heart and Lung Transplant Foundation. A worthy play for a worthy cause.

To book tickets to Heart Lines, please visit https://melvilletheatrecompany.au/current-production#cca6dbda-c607-4472-9f7c-054b47d62a0f.

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Chalkface: Melville Theatre

Chalkface

Chalkface Rating

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1

Chalkface is a glimpse into the lives of six staff members from the fictional West Vale Public Primary School.

The two protagonists in the play, Pat Novitsky and Anna Park are polar opposites. Pat is a weary, cynical 56-year-old teacher and Anna is a 22-year-old perky graduate teacher, full of enthusiasm.

Pat has been teaching at West Vale for many years and has given up trying to make a difference in teaching and in the lives of the students. Her weariness is evident from the moment she steps into the staff room on the first day of Term One, dragging her feet with shoulders hunched. Years of bureaucratic red-tape, the constant lack of funding and having to deal with difficult parents appears to have taken a toll on her and that bright light within her she once had is now dim.

Anna on the other hand has full of ideas on how to improve the school for the teachers and for the students. On her very first day she is already suggesting new teaching methods that land her on the wrong side of Pat. The two clash throughout the play but as they get to know each other on a more personal level they develop a common ground.

The other characters are Denise Hart, the somewhat ditzy pre-primary teacher; Cheryl Filch, the former bank worker now school office manager who guards the office supplies with an iron fist; Steve Budge, who is convinced a parent of one of his students is stalking him; and lycra Principal Douglas Housten.

Rather than acts in the play they have terms which I thought was quite a clever way of delivering the performance. With each term more layers of the characters unravel.

Set in the staff room of West Vale, the set designer has done a brilliant job in presenting a run-down and outdated staff room with cracks in the walls and basic office furniture. This was a dead give-away that West Vale is a public school and the lack of school funding is a major theme throughout the play.

Natalie Burbage is phenomenal as the grouchy Pat Novitsky and Sophie Harvey-Lissienko is equally as good as the bright Anna Park. The other cast members Louise Fishwick, Cameron Leese, Maree Stedul and Christopher Hill all deliver strong performances and the camaraderie amongst the cast shines through in their performances.

There is a strong message conveyed in the play which many of us are perhaps already aware of and that is teaching is a hard profession. Teachers are underappreciated and underpaid. But as the director Vanessa Jensen mentions in her Director’s Notes, playwright Angela Betzien describes Chalkface as a “love letter to teachers” with relatable teacher issues presented in a humorous manner.

To book tickets to Chalkface, please visit https://melvilletheatrecompany.au/current-production.

Photographer: Curtain Call Creatives

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