The Pillowman - Hayman Theatre Company (28 November 2023)

A writer sits alone in a grimy interrogation room in some unnamed totalitarian state, head covered with a hood. His 'peculiar' brother is in the room next door. Two police detectives thunder in to take him to task about child murders that closely resemble stories he has written. Far too closely. He fears for his brother and his own safety - torture and execution are on the cards - but also fights for the preservation of the very stories that have landed him in this predicament. 

So begins The Pillowman, a brilliantly written play by Martin McDonagh who has subsequently made a splash in Hollywood with In Bruges, Three Billboards Outside Ebbing, Missouri, and The Banshees of Inisherin. It is confronting, bleak, darkly funny, thought provoking, and a blistering piece of theatre. 

It explores a writer's responsibility (or not) for the material they bring into the world; the culpability (or not) of those who may act on those stories in ways that weren't intended; the reasons why a writer may write the way they do; the choice of subject matter and themes they may explore even in the face of censorship; and the legacy they leave behind with their work. It is a tale full of stories - dark stories, twisted stories, stories that rarely have a happy ending but valid stories nonetheless. It's also a tale about two brothers and their bond, forged through the power of storytelling for better or for worse.

Those stories are teased out in expert fashion to reveal more about these people trapped in what otherwise might pass as purgatory. Even the police detectives who are brutal, hectoring, and relentless in response to the horror these stories have unleashed. There are twists, reversals, gasp inducing consequences, and even the faintest hint of a happy ending... if you need to grasp for such conclusions.   

But let me be clear. In a hallmark of McDonagh's writing it is also savagely funny. Sure, you're not going to get served up sitcom-style softballs but there is wit, intent, and intelligence behind the humour that will get under your skin. Yes, it is deliberately designed to provoke but the provocation is more than worth it. 

Director Travis Koch has assembled an excellent company of Hayman alumni and existing students, both on and off the stage. From the look of the play, the sound of it, and the performances, this is exceptional independent theatre not for the fainthearted.  

It all starts with that writer - Katurian K. Katurian - played by Samuel Ireland in a towering performance. Ireland is rarely off-stage and conveys such a wide array of emotions, mostly in a heightened state, that he is physically drained by the end of the play. His appearance, through makeup, costuming, and astute acting choices, slowly unravels to reflect the toll the character has exacted. Weary and haggard by the end, he looks like he's been put through the ringer and then some. Ireland convincingly portrays the confusion and fear of this unexpected bind Katurian finds himself in while also radiating moments of strength and defiance. His writer clings to a healthy sense of ego in the face of blunt 'literary criticism' from his accusers. But it's the empathy he shows for his brother Michal that is most affecting. An empathy that leads Katurian to do the unthinkable in a gut-wrenching moment. I was also impressed with his reactions to other characters - we know exactly what Katurian is thinking especially during one revelation that tilts everything on its head. All this while delivering his lines with a credible Irish accent. It's marvellous work.  

His brother Michal is played by Colin Gilligan who sports an authentic Irish accent having recently moved to Perth from the Emerald Isle. Michal is a profoundly damaged character who is too easily passed off by the cops as being 'slow' or a 'retard'. We will come to discover the awful truth about why this is. Gilligan successfully walks an incredibly tricky line between making Michal oblivious and canny. It's a fascinating performance and his long scene with Ireland in the second act of the play is mesmerising. 

On the other side of the interrogation table is Amber Gilmour as Tupolski, the self-proclaimed "good cop". Gilmour brings a casual cynicism and snarkiness to the detective who seems none too fussed about the use of torture to extract a confession. The story she tells Katurian in the third act to demonstrate her skill at 'detecting' is hilariously bad before the mood abruptly switches to being far more callous. The "bad cop" of the duo, Ariel, is played by Wilson Gilburt. Physically imposing, Gilburt revels in the 'torture' of Katurian, favouring a far blunter approach than his partner. He's not quite as compelling in the quieter moments where Ariel's actions and change of motivation are somewhat hazy. That's largely because Ariel's own revelation is treated perhaps a little too lightly in a moment of shtick with Tupolski. 

Kate Naunton Morgan and T. Mutta Beilby play various incarnations of Mother and Father with disturbing charm in one instance and even more disturbing cruelty in another. Arthur Brown is the Child, both real and imagined, and they exude an air of innocence even in the most alarming of situations.  

The world Koch has created along with Set Designer T. Mutta Beilby and Lighting & Sound Designer Sebastian Boyd adds to the sense of unease. The decay of the interrogation room is palpable from the rust stains on the filing cabinet to the mould on the walls, accentuated by the single light hovering ominously above the table. There is a writing desk stage right which is lit by a single candle, the blowing out of which is also used as a punctuation point at the end of several stories Katurian tells. 

That set opens out to reveal the Katurian's family home during the pivotal tale "The Writer and the Writer's Brother" and later the foster home the Child finds themselves in during the story "The Little Jesus". Brightly lit and colourfully appointed this acts as a counterpoint to the dingy interrogation room while also introducing an element of doubt about what is real and what is a well told fabrication. Costume & Props Designer Kiri Silva excels with an array of tools hanging from the walls that will make you squirm as you realise their terrible purpose. 

Finally there are the stories. Wonderfully written, beautifully performed. Stories worth fighting for despite their dark content. The story of "The Pillowman" itself is a moving and poignant one that reverberates throughout the play as each character embodies aspects of its message. Michal's response to being given a choice in light of all he knows will happen and the impact on Katurian is devastatingly astute. 

This is a terrific production of a superb play.  There are four more shows remaining until Saturday 2 December and is highly recommended.

The Final Line - The Great Indian Theatre Company (25 November 2023)

There was a time, long ago now, when I was doing my third year units for a Bachelor of Arts degree at UWA whilst attempting joint honours in history and politics. Modern Chinese history was my area of expertise. That never worked out (long story) but I mention it because the historian in me was intrigued when I was approached to review this production. The partition of India in 1947 is a monumental event in the middle of the twentieth century that has ramifications to this very day. My theatregoing side was also curious - how would you even attempt to dramatise such a consequential historical occurrence with all its complexities, larger than life political figures, and catastrophic loss of life and dislocation that ushered in the creation of modern India and Pakistan?  

Writer and Director Sreekanth Gopalakrisnan's answer to that question is to intertwine two parallel narratives - one at the political level where figures such as Lord Mountbatten, Jawaharlal Nehru, Mahatma Gandhi, Muhammad Ali Jinnah, and the lesser known figure of Cyril Radcliffe (who was given a mere five weeks to decide the borders) debate the partition; the other at the personal level following two families in a fictional village where such decisions will have significant and tragic consequences. 

In this regard, Gopalakrisnan's instincts are good, however, the execution, while powerful at times, didn't quite work as a cohesive and compelling theatrical narrative for me. I can't fault the intent, the sincerity and passion brought to the production, and the even-handedness of depicting complex positions without authorial judgment. There is real care and attention on display here. However, nearly every single character talks in expository flourishes that felt more designed to impart historical detail than to convey genuine human emotion and interaction. Even the staging betrays this outcome - the actors square up, often in a line, to the audience and talk at us rather than to each other most of the time. There is also a fair amount of repetition, especially with scenes foreshadowing the impending violence.

The play works best when there are recognisable human moments - a father, Balbir Singh (Ashish Malik), gives an impassioned speech about why he cannot abandon the land he began to farm as a young child with his father; two mothers - Gurpreet (Navneet Bhullar) and Fathima (Neha Chhapia) console each other knowing they and their children will soon to torn apart by forces outside of their control; a heart-wrenching lament as one 'brother' - Arbazz (Zachary Borthwick) - breaks down after an act of violence towards another 'brother'.

Perhaps most relatable of all is after a lovely dance sequence between Resham (Karthika Nair) and Zoya (Karishma Velugula) where Resham's brother, Jeet (Rohit Kalia) basically wants her to leave because he only has eyes for Zoya. It's sweet, funny, and has nothing to do with the larger political debates swirling around in that very moment even though we'll soon come to learn their romance is ill-fated. 

On the other side of the parallel narrative the politicians are either quite stiff, the actors perhaps weighted down by the solemnity of portraying such titanic figures; or, in the case of the British contingent, a hint of caricature. Matthew Docking has the physical stature to play Mountbatten but not the gravitas, not helped by an odd accent choice. Robert McDonough brings almost an element of comic relief as Cyril Radcliffe though I'm not sure if that's because I'm supposed to feel some form of sympathy for a man so hopelessly ill-equipped to perform the task he has been given. McDonough does have a scathing line of dialogue, however, that best sums up the stakes involved with such an imprecise process as drawing arbitrary lines on a map.

There are many elements I enjoyed. The cultural specificity of the production, especially with costuming that encompassed traditional garb from the colourful to the utilitarian as well as more sombre toned outfits for the politicians, and gaudy trim for the military men; a distinct musical score (Sumesh Anand Surya); and good sound design from crowd noises to radio broadcast snippets to fireworks on the day of independence. It's also a handsome looking show with the ever present tree at the rear of the deep stage and use of spotlights to draw our attention to competing points of view. 

I appreciated a totally unexpected fantastical device when Krishna himself (Jose Dev Vattoly) visits Radcliffe that was a quirky choice used to galvanise the dithering lawyer into action. The display in the foyer of the Nexus Theatre with contemporaneous photos, press clippings and historical facts set the tone before the show while the projection of similar information and photos on a scrim at the end nicely encapsulated what we had seen.

The historian in me was satisfied. I learnt more about this event, the players at the centre of the political wrangling, and the cost to the millions involved. The theatregoer in me wanted more natural interactions in the village scenes for the, albeit powerful, closing moments to really kick me in the teeth. Namely, utilising the two most charismatic actors in the cast - Rohit Kalia and Zachary Borthwick - to flesh out a friendship that symbolised a possible peaceful future only for their last moments together to ruin that possibility beyond all redemption. The romance strand could also have been teased out further as it's a complication that binds both families together when such entanglements could be deadly.   

Above all, I applaud the commitment of the cast, crew, and all the creative team involved in staging a production that explores such a significant and complex event with sincerity and fearlessness. I look forward to seeing what this company tackles next as a unique voice on the Perth theatrical landscape.

Peter Pan: Broadway's Timeless Musical - Koorliny Arts Centre (18 November 2023)

Ah, to never grow old and live a life full of adventures. Alas, the closest one can do is go to a theatre full of eager children (one a little too eager) and hope for a sprinkle of magical fairy dust. Then to abandon all responsibilities for a couple of hours, learn to fly, abscond to Neverland... and go fight pirates. I'm with you Peter! Indeed, there was a healthy dose of magic in this production in the form of lighting and set design, costuming and props, and well staged sequences such as I'm Flying. It's also a joy to see so many young performers on stage which is only fitting. 

A packed theatre waited expectantly as the overture played with the stage curtain closed. The wait was worth it as the reveal of the set was quite something. I could only dare hazard to guess how many lights had been fixed to the rear curtain and the Darling nursery was vibrantly lit and well dressed. This would be a common theme throughout - lights affixed to the trees of Neverland and, most impressively, the wings of the resident fairy lending everything a bright and enchanted quality. The pirate ship of the second half was another well realised and striking piece of set design by Quantum Building Services, Stephen Carr, and Pear Carr. 

Of course, the lighting design by Chloe Palliser also gets to play with the depiction of Tinkerbell as a focused ball of light that flitters around the stage to 'land' on characters, objects, and walls (lighting operator Hayley Smith). This is accompanied by whimsical musical cues as Tinkerbell 'speaks' to Peter. It's all rather delightful. 

In line with this, the costumes are bright and bold from an almost elvish looking Peter to the mock theatricality of Captain Hook and his pirates; the sleek design of the Neverland natives; the patchwork quality of the Lost Boys; with classic-style nightwear for the Darling family including an elegant night dress for Wendy. Oh, and who needs animatronics or CGI when you can have Matthew Holmes in a dog costume AND a crocodile suit with a (not quite) stealthy form of propulsion?! Wardrobe attributed to Melissa Kelly, Matilda Jenkins, and Katherine Freind. 

Perhaps the real magic though is in Matilda Jenkins' choreography. The show really shines in splendidly executed dance sequences such as Neverland Waltz and True Blood Brothers involving much of the cast. Then there's the jauntier antics of the pirates in Hook's Tango, Hook's Tarantella, and Hook's Waltz.  

The one aspect that was a little out of balance was the volume of the backing music. It's a gorgeous Broadway score but the sound level meant the performers' mic volumes were way up to compete and it felt like a battle most of the time. Dialogue and lyrics were often lost or obscured, especially for Ryan Taafe as Hook who was using an embellished accent to accentuate the villain's, um, villainy. There were also quite a few 'shouty' moments and when you have so many performers on stage, most mic'd up, this can lead to an overwhelming cacophony.

To the performances and Christie McGarrity made for a robust Peter Pan who sang well and flung herself around the stage with boundless energy and hands-on-hip swagger. McGarrity enthusiastically led the audience in reviving Tinkerbell, and cawing like a crow in I've Gotta Crow. A radiant Jordyn Gallop was sincere and lovely as Wendy and shared a highlight vocal moment with McGarrity and Katherine Freind (Mrs Darling) in Distant Melody. A young performer to watch.

Another young performer to make her mark was Kayla Brown as Tiger Lily who projected a regal bearing as leader of the Neverland Natives whilst displaying excellent dancing skills. Rp van der Westhuizen gave Smee a hint of Jack Sparrow as he played the comic foil to Captain Hook; a niche he is carving out nicely after a similar comic turn in Catch Me If You Can earlier this year. Taafe, after a long absence from the stage, brings authority to the dual roles of Mister Darling and Captain Hook; the latter with some snark thrown in for good measure. 

Melissa Kelly as Liza has a graceful featured sequence with the Neverland Natives and Neverland Fairy (Emma Fleming) in the (aptly named) Neverland Waltz. The Lost Boys were all charming led by a likeable turn from Sophie Lewin as Slightly. Our Michael Darling on the night was Jack Sharma who was full of boyish exuberance while Matt Ballantine provided a more calming demeanour as John Darling.  

Directors Blake Jenkins and Neroli Sweetman have assembled a talented cast of youngsters (with a few savvy theatre veterans!) to present a visually enchanting production that will no doubt be a hit for children and parents alike. It was fantastic to see close to a full house with so many children in attendance. Perhaps the secret to never growing old is having plenty of theatrical adventures seen through the awe and wonder of children. Peter Pan is on at the Koorliny Arts Centre in Kwinana until 25 November.

The Normal Heart - GRADS (2 November 2023)

For me, one of the most magical occurrences in a theatre is when an audience goes completely silent as if holding its collective breath while watching a moment onstage. It's as if we dare not interrupt the alchemy unfolding before us. It feels primal and, in some miraculous way, time stops for the briefest instance. Such a moment happened during a monologue in the 2nd act of playwright Larry Kramer's damning indictment of the response to the burgeoning AIDS crisis in early 80s New York. 

Phil Bedworth's character, Bruce Niles, recounts the events leading up to his partner's death and its immediate aftermath. It is shocking, heartbreaking, and feels utterly authentic in its specific details. Bedworth conveys the desperation and disbelief of losing a loved one under these circumstances with an empathy that is stunning. It is an emotional highpoint of the production. 

This is where the play is at its most effective, detailing the human cost of a disease that was, at the time, ignored by the media, shunned by politicians, and barely grasped by the medical profession. The character of Ned Weeks (Zane Alexander) is based on Kramer himself who became a gay activist in response to an increasing number of his friends becoming sick and subsequently dying. He was instrumental in forming a crisis organisation and notably railed against New York mayor Ed Koch for not doing enough to fund an effective response. Kramer proved to be so confrontational that he was eventually ousted from the organisation he helped create. He did, however, raise awareness of a health crisis that would become a worldwide epidemic.

Given this, the writing roils with outrage and condemnation. Characters deliver tirades of facts and figures. There is a lot of finger pointing, both literal and figuratively, as arguments rage over the lifestyle of gay men; their right to sexual freedom; comparisons to the fate of the Jews in World War 2; the nature of love; and who is to blame. There are even announcements of the number of cases reported by the CDC that increase as the months go by. Ned mentions a few times the forty men he knows who are sick. At first it all felt a little too abstract and intellectual for mine. I wanted to see the people behind the numbers. The highlight of the first act, therefore, was the argument between Ned and his brother Ben Weeks (Dean McAskil) whose reluctance to support Ned is viewed as a betrayal and sign that Ben considers him 'sick'. 

While the first act is still powerful and disquieting the play opened up for me in the second half when the personal toll is more fully explored. That relationship between brothers is fleshed out; Ned's own partner Felix (Steven Hounsome) becomes ill; the clash between Ned and the more diplomatic president of the crisis organisation, Bruce Niles, escalates; friendships within the group are tested; and ultimately Ned has to face his own mortality reflected in his lover's fate. 

Director Barry Park has assembled a fine cast and wisely stages the production in a black box space with minimal set or props so that the focus is squarely on the performances. He is assisted, however, in no small measure by an excellent original score by Myles Wright that accentuates moments of high emotion with great subtlety. 

Accomplished performer Zane Alexander is rarely off stage as Ned Weeks who is deliberately written to be obnoxious. Alexander rises to the occasion in an outburst at mealy-mouthed government official Hiram Keebler (Phillip Steele-Young) where Ned simply can't contain his anger. There is the similar outburst directed at his brother but it's in the deepening crisis of Ned's own relationship where Alexander really shines. Kramer and Park put him through the ringer as the so-called firebrand struggles to deal with Felix's condition. It's a very physical performance with lots of big gestures and hand motions that, given how precise a director Park is, can only have been a deliberate choice. The actor had to gather himself before his final bows after reaching a crescendo of anguish and unconditional love in the closing scene. 

Steven Hounsome plays an excellent foil with his Felix being straight forward and practical compared to the histrionics of Ned. He too navigates a fraught emotional arc with great skill. Phil Bedworth delivers that devastating monologue and projects decency as a man committed to the cause but at odds with Ned in how it should be prosecuted. 

Anna Head impresses in a tricky role as Dr. Emma Brookner. Not only confined to a wheelchair, most of her dialogue feels like a diatribe designed to convey facts and figures as the 'medical representative'. However, Head imbues Brookner with a genuine sense of compassion as she fights what seems a losing battle. This is epitomised in another outburst that builds in rage until it explodes in a flurry of papers as the doctor's request for funding is denied.  

Dean McAskil makes for a compelling visual counterpoint to Alexander - he towers over the more slightly built man which is symbolic of the brothers' relationship in many ways. The lawyer, at first, seems more preoccupied with material wealth in the form of a new house than his brother's activism but there is another moment of compassion when Felix visits him to engage his services. McAskil doesn't oversell the complicated relationship with Ned which leads to a satisfying arc.

Adam Poole has a standout moment as Mickey Marcus as he launches into a monologue that verges on hysterical but given the context was earned and a jolt of theatrical adrenaline. He tackles it with a full on intensity that was even more notable given it's quite a long speech. Jordan Holloway adds a sly sense of humour (and yes, there is a certain wry humour throughout) as Tommy Boatwright which is a welcome departure from most of the more earnest characters. 

This is a much lauded script tackling an important issue that resonates to this day with the Covid-19 pandemic an immediate comparison. I could sense the playwright's vitriol and that often bursts into life but every now and then this production felt somewhat too polite and measured. If ever there was a character and an issue that invites a full-blown assault it is Ned Weeks and the egregious handling of the AIDS crisis. Having said that, this is a talented cast and consummate director bringing to life a complex script and that is to be applauded.  

The Normal Heart is on at The Actor's Hub in East Perth until 18 November 2023.