Frankenstein - Second Chance Theatre (22 July 2016)

The Gothics Trilogy comes to an epic conclusion with Second Chance Theatre’s Frankenstein, faithfully adapted from the classic Mary Shelley novel. The trio of plays has been a huge undertaking for the three theatre companies operating under the banner of Murdoch University’s Nexus Theatre. Yet Frankenstein ratchets up the scale and ambition to audacious heights. A cast of over 20, use of a full size puppet horse, sumptuous costuming, and the evocative lighting of the multi-level set are hallmarks of this two hour fifteen minute production.

At the centre of it all is Scott McArdle who not only adapted the novel, directed the production and plotted the lighting design but was pressed into service in the lead role. This was after the original actor pulled out in unfortunate circumstances only a month before opening night. To say this was a Herculean effort on McArdle’s part would be a massive understatement. Bruised, battered, and exhausted after the show, he was looking forward to well-deserved sleep before doing it all again for closing night. You can’t help but admire the tenacity, multi-disciplined talent, and sheer moxie to even attempt a show like this.

I’ll start with some thoughts on his adaptation with the confession that I have not read the novel…

The story is told in flashback, the framing device being an encounter between Victor Frankenstein (McArdle) and Captain Walton (Rhianna Hall) on a ship stuck in polar ice. The change of gender for Walton works well as Hall plays the hard-nosed sceptic with sharp tongued flair.

The tale that is revealed by Victor is an expert psychological profile of a man driven to achieve greatness but is derailed by hubris and unchecked ambition. The Creature of his making is a torment that brings death and destruction to those closest to him. We understand the genesis of Victor’s obsession – the death of his mother trampled by a horse is the significant catalyst that prompts him to delve ever further into arcane studies. Indeed, the turning points are all beautifully crafted – the failed first attempt to resurrect a life; the ultimate success that turns into ash when both he and the Creature realise what he has done; the Creature’s journey to eventual murder; and Victor’s thirst for vengeance.

That’s another key element. This is no mindless monster on the rampage. Frankenstein’s Creature (Laughton Mckenzie) is literate and capable of learning and emotion but bedevilled by the reaction to his hideous appearance. He also wants a companion like himself; a request Victor ultimately spurns which leads to his world crashing around him as the Creature kills his friend Henry (Launcelot Ronzan) and most maliciously, his new bride Elizabeth (Shannon Rogers). This is after accidentally killing Victor’s younger brother William (Toni Vernon) then later a blind man and his daughter (Alex McVey and Abbey McCaughan). All the while the bloodied ghost of Victor’s mother (Izzy McDonald) spurs Victor on to more heinous deeds. The creator and his monster are a well-matched pair of dysfunctional and traumatised souls.

Mckenzie is a menacing physical presence both in stature and the makeup that indicates the stitches holding together the Creature’s reanimated form. He picks the slight McArdle up like a rag doll which, in its way, is more shocking than all the blood and gore on display. He had a tendency though to shout too often which was an issue for several of the performers in the more heightened of scenes. His primeval screams however, especially after his ‘birth’, were harrowing.

Other performers of note – Shannon Rogers is a luminous Elizabeth, beautifully costumed, and portraying an elegant and confident young woman with style; Ellin Sears is always a dependable presence in every production I see her in at Murdoch and her family maid Josephine is given quite a complex and tragic arc; Hall as mentioned imbues the Captain with swagger aplenty; and Ronzan is likeable as the faithful friend with a surprising twist.

German born Jenia Gladziejewski is the strict Professor who sets Victor on his path to greater learning and it was interesting to hear the actress after the show indicate she had to exaggerate her natural accent to make it more ‘Germanic’. Rhys Hyatt and Stephen Platt have scene stealing secondary roles as the fussy butler De Lacey and grotty Landlord respectively.  

There were some elements that didn’t quite work. The score by Drew Krapljanov did add tension in its more discordant moments but too often scenes were undercut by the contrasting atmospheric mood music sitting under the action. It felt like the emotion was being reinforced at the expense of the inherent potential for conflict. That leached away tension and for an already long play tended to give the impression of a statelier pace. While the lighting design has been a highlight of all three plays there were times when actors were cast in shadow, on the periphery stage left, in key scenes especially in the latter stages. The first half ends somewhat abruptly and the change of POV to the Creature at the beginning of the second half slowed the momentum built up to that point.

The overall impression one is left with, however, is one Victor Frankenstein himself might appreciate – the drive and ambition to create a theatrical behemoth that must surely be the biggest undertaking to date at the Nexus Theatre and one that will go down as a landmark moment and suitable punctuation point to conclude the Gothic Trilogy.

The final show is on at 7.30pm 23 July at the Nexus Theatre on the Murdoch University campus. Given the full house last night I would book now!  

The Gothics Trilogy Launch - Nexus Theatre, Murdoch Theatre Company, From The Hip Productions & Second Chance Theatre (11 May 2016)

Dracula. The Mummy. Frankenstein’s Monster.

All are iconic characters with a rich history in literature, movies, and the performing arts. They have scared and fascinated generations as far back as the novels of Bram Stoker and Mary Shelley and, in Dracula’s case, myth and legend long before that. Now they are familiar figures in Hollywood movies and on the small screen.

Each will feature in separate plays to be performed in a three week window in July. Two will utilise an originally written script, The Mummy Rises by Tim Brain and Frankenstein by Scott McArdle (adapted from the Shelley novel), while Dracula’s text is nearly a century old. Each will be produced by a separate theatre company based at or originating from Murdoch University – Murdoch Theatre Company, From The Hip Productions, and Second Chance Theatre.

Murdoch is a key incubator of theatrical talent in Perth, notable for having multiple theatre companies operating on campus. Over the last couple of years I’ve attended predominantly newly written work as students hone their skills across a range of disciplines from playwriting to performance and all technical aspects.

When the key creatives – John King, Tim Brain, and Scott McArdle - decided to tackle such an ambitious undertaking as the Gothics Trilogy they had the combined resources, talent and goodwill of three companies to call on under the umbrella of the Nexus Theatre. Given the task at hand, this was expanded to include alumni and staff. It’s an impressive collaboration that includes some 30 performers and 40 crew members of which 50 are alumni and current students. 

The launch on Wednesday afternoon introduced the creative teams, showcased costumes and props, and featured some of the actors from each production as well as a rough cut trailer and behind the scenes documentary footage. There was a Q&A after the formal presentation before we mingled with actors and crew and checked out various design and costume elements on display.

A few things quickly became apparent.

The passion of not only the key creatives but everyone involved from cast members (who were in costume and, in one instance, special effects makeup) to the design team. For many there is a personal connection either to the original texts or inspiration from particular iterations of these characters especially in film.

The idea was born out of the notion of bringing horror back to the stage and genuinely trying to unsettle and scare an audience. Some of the props certainly had an air of authenticity that will be interesting to see come to life on stage.

A respect for the literary origins and what has come before. This has all the hallmarks of being meticulously researched with great care and attention given to all aspects. It is an ambitious and audacious project to mount three large productions in quick succession but everyone is going into it with eyes wide open.

While these are essentially horror stories there was a lot of talk about the human aspects and accessibility of the scripts with credible human interactions. Gothic stories also have elements of romance and in The Mummy Rises’ case we’re told to expect a bad ass feminist heroine!

The scale of the effort required. For example, some 70 costumes have to be sourced and/or made and from the garb the actors were wearing they have a discernible Victorian era flavour.

Finally, not to be lost in all of this, there was a real sense of fun as well. These are huge, larger than life characters and while there will be dark elements there was an air of relish at trying to provide scares and thrills.

The Nexus Theatre is a good sized venue for this. Not too big to lose a sense of intimacy that will allow for the creation of a creepy atmosphere.

It was a well thought out launch that whet the appetite for some theatrical mayhem come July. Tickets went on sale Friday the 13th (of course). There are even package deals that will save you 30% if you want to see all three plays.

Details for each production are in the links below:

Dracula, 7-9 July, Directed by John King from a script by Hamilton Deane and John L. Balderstone.

The Mummy Rises, 14-16 July, Written and directed by Tim Brain.

Frankenstein, 21-23 July, Written and directed by Scott McArdle.

I for one am a big fan of the Vampire myth and have been increasingly dismayed watching them become fashion accessories for angst driven teenagers in movies and television. I’m looking forward to a little bite being put back into my horror. These three plays look like they might just do the trick!  

Extra Ordinary People - Second Chance Theatre (22 November 2014)

The presence of superhero themed entertainment, especially movies, has been all pervading in recent years as Hollywood unveils, reboots, and rehashes multi-billion dollar franchises with increasing fervour. These stories are far more sophisticated than I recall in my childhood - I am from the generation of comic books which have now been superseded by the far more ‘respectable’ (and thematically dense and generally darker) graphic novel. It’s interesting then to see what impact this has had on a generation immersed in tales of (mostly) good versus (mainly) evil where a dizzying array of filmmaking talent and special effect wizardry makes the most outrageous of superhero powers possible.

Fascinatingly, one answer to that question is an original superhero comedy musical, written and directed by graduating Murdoch University student, Scott McArdle. Even more so when it becomes very clear that this is, in fact, an anti-superhero comedy musical. To say that McArdle’s last student production is ambitious would be an understatement of heroic proportions – a two hour and fifteen minute running time, a twenty-one strong cast, an equally large production team, a nine piece band, all original songs and a thematically cohesive Book that dissects superhero mythology with laser-like precision.

The story in short, a barista called Polly decides to take a stand against the protector of Destiny City, the invincible Captain Astonishing, whose battles with The Destroyer claim innocent lives and disempower the local citizenry. Polly enlists the support of a couple of comic book geeks, a scientist, and an ex-cop, and holds a public protest to disastrous results while dodging the attention of secret agents and falling masonry from rooftop battles atop skyscrapers. Captain Astonishing has problems of his own, mainly of the slowly going out of his mind variety and indeed ends up living long enough to become the villain.

McArdle is steeped in superhero lore and there are plenty of in-jokes and references throughout as well as all the tropes and twists one would expect in such a tale – secret underground laboratories, shadowy government organisations, an indestructible superhero with an equally powerful nemesis, secret identities, and a climactic final confrontation. But unlike Man of Steel (nicely bitch slapped) the city still stands at the end as ordinary citizens regain a sense of purpose with the removal of a god-like figure to protect them. The most telling line is tagged with the “with great power comes great responsibility…” – “… and with no power comes choice.” While crime rates are at an all-time low and coffee remains readily accessible, the people of Destiny City are an unhappy lot, powerless in the face of the titanic struggle supposedly being waged on their behalf. Purpose, choice and destiny are within their grasp if only they would seize the opportunity and stand up to Astonishing. Polly is the catalyst for this revolution as the superhero becomes the enemy and ordinary people battle the extraordinary… with a little help from the wonders of science.

Shannon Rogers is excellent as Polly and gives a nicely grounded performance as the mayhem swirls around her. Rogers has a pleasant singing voice but it’s the acting chops here that are crucial as she essentially plays the moral anchor to the story even when things don’t go according to plan and Polly’s own secrets are revealed. She also has a deft touch with the physical comedy elements and occasional droll one liner. A demanding lead role that sees her battered from pillar to skyscraper rooftop with the bruises to prove it.

James Hynson gives an engaging performance as the ‘Einstein’ of Polly’s mock-resistance group and his character plays a pivotal role in coming up with the Plan B that saves the city. Rogers and Hynson work well together and, again, he gets moments of comedy but also imbues the scientist a strong moral conscience that gives Polly an additional nudge when required.

Second Chance Theatre regular, Emily David plays the fired cop, Stacy, with snarling intensity and has a little Ethel Merman going on with her singing which was a nice counterpoint to the other vocal talent. Then there are two pairs of comic foils – the superhero loving nerds Kirby and Frankie (Justin Crossley and Sophie Braham) who are all geek enthusiasm though clearly (and amusingly) delineated between different fandoms. Crossley has a nice dramatic moment when Kirby takes Polly and Stanley to task over discussing – spoiler alert – Frankie’s death as an abstraction whereas he actually knew her as a real person. The other pairing is secret agents Philson and Rodgers (Andrew Dawson and Launce Ronzan) who come from the Keystone Cops school of homeland security and are very good with a series of hijinks and pratfalls as they eventually bumble their way to the city’s defence. In smaller roles, Joel Sammels made the role of Polly’s Boss memorable, as did Rachel Doulton with the insistent Landlord.

This leaves one key character - Captain Astonishing himself. He makes an appearance at the end of the First Act though, of course, he’s been right under our noses the whole time. Played with relish by Sven Ironside with a jawline to die for and a costume maybe not to, he adds a real sense of unpredictability and energy. This is totally in keeping with the character’s mental disintegration and in service of the plot but it was more than that. Ironside’s first big number where he proclaims he will do things “my way” had the sort of energy and attack that the earlier songs lacked. That’s not to say they weren’t good but I had a sense that the musical performances were almost too careful and a little safe. Here, Ironside throws himself at the number and it elevates the material. The same could be said of the fine set piece extolling the virtues of science that had some Chicago-style pizazz and was playfully handled by the ensemble.

The piano driven score was good and the band played very well. There was an overall lack of songs for my musical taste with long stretches between numbers at times but those we had were well crafted. The set and lighting design was impressive and set transitions handled swiftly and economically. The show hit its straps in the Second Act and the climax was well handled.

This really was an impressive production on so many levels – the sheer audacity and scope alone is to be applauded but the writing here is well balanced between comedy and darker, more dramatic moments and is thematically compelling as a reaction to the adoration the world of superheroes and their exploits usually receive. My only question mark is that the nominal nemesis, The Destroyer, is only ever referred to in dialogue other than represented as a drawing on the café scrim. I never had a real sense that he was a worthy adversary to Astonishing. The songs are good though I think, for a two hour plus running time, there needed to be more of them and with a greater sense of verve in presentation. The ensemble work well and there are amusing walk-on parts and activity happening all the time as we see glimpses into the lives of Destiny City’s citizens.

Written and Directed by Scott McArdle, Music by Nick Choo, Lyrics by McArdle and Choo, with Musical Direction by Glenn Tippett, Extra Ordinary People is a fine way for Second Chance Theatre to end their stint as a student-based theatre company and to cap off a big 2014. I am eager to see what McArdle and his creative collaborators come up with in the New Year.

Narrow Graves - Second Chance Theatre (28 August 2014)

Narrow Graves is the third production I have seen by Second Chance Theatre this year after the atmospheric Bye. Gone and the apocalyptic relationship drama Coincidences at the End of Time. All three were written by Scott McArdle who is nothing less than prolific with his debut musical Extra Ordinary People due to hit Murdoch University’s Nexus Theatre in November. This one is at the Drama Workshop also on the Murdoch campus.

McArdle is a young writer with great potential and he’s certainly not afraid to explore provocative and dark subject matter such as in this play. That he does so with wit, insight, and at times brutal realism is testament to his writing ability – a skill that might take him to NIDA and beyond, all things being equal later in the year. Not content with being the author, he also does the lighting design and acts, notably in this one, naked for a large portion.

He is joined on stage by his Coincidences co-star Emily David (as Charlotte) who plays a newly arrived ‘guest’ at a facility whose previous owner was one A. Hitler. We quickly learn things haven’t changed much as this unnamed place indulges in the kind of experiments that would not be out of place in those evil times. David has an eminently watchable quality that is powered by a stillness and calmness in her acting. This works to the play’s advantage as her character is perhaps the only sane person in a bunch that includes fellow ‘guests’ Juliet, a partially lobotomised, childlike presence; and Ethan, stoically played by McArdle who stands naked in a bucket of water as a form of ritual humiliation.

Charlotte’s guide, Benjamin (a doctor of some sort), is played by Rhys Hyatt who obliquely explains the rules of this strange world. Hyatt portrays the character with a mix of condescension and smarminess to amusing effect though we soon discover a much darker side as he takes advantage of Juliet (Jade Galambosi) for his own sexual gratification. Galambosi is sweet and tragic as the damaged soul stuck in this horrid place.

The final character is The Warden, a strong performance by Laughton Mckenzie. This is the charismatic yet unhinged ‘visionary’ who demands complete obedience yet is unaware of the chaos his actions reap. Which is ironic as chaos is the very thing he wishes to eliminate and the entire purpose of this facility. A chaos brought about by emotion, love and sex, all sins to be removed from the unwilling guests. Exercise time is a euphemism for joyless sex as Charlotte and Ethan are forced to couple every day under the watchful eyes of Benjamin and the Warden. The unwanted results of such ‘experiments’ can be terminated with a syringe.

It’s all bleak and unrelenting but this appears to be McArdle’s intention. A world without love, emotion and sex leaves people a gibbering mess in the corner of a very dark place indeed. It is a cautionary tale regarding the rise of conservatism in places such as Australia where governments seek to control aspects of our lives that really are none of their business. Ultimately though I wasn’t sure what the takeaway from this is as the cycle repeats itself as even Charlotte crumbles in the face of such heartless brutality. This was after an act of perverse kindness that did surprise me and was shocking in its ruthlessly efficient staging.

There is black humour throughout to leaven this nightmarish vision and it was interesting watching the power structure at play. This hierarchy is most noticeable with Benjamin who lords over the guests but is obsequious and subservient to the Warden. The performances are all strong but pitched very differently with Hyatt and Mckenzie given licence to have the showier roles while David, Galambosi and McArdle drive the emotional punch of the play. The set is simple yet effective with good use of lighting guiding us through scene changes.

This is SCT’s most overtly political piece and it’s certainly not for the fainthearted. The creative team and actors are to be applauded for producing a play that will make you think and wasn’t without its own share of adversity in bringing to the stage. There are three more shows; tonight at 7.00pm sharp (there is a lockout) with a matinee and evening show on Saturday. 

Coincidences at the End of Time - Second Chance Theatre (12 June 2014)

The apocalypse is upon us my friends! Meteors plummet into populated areas. Giant crocodiles that may (or may not) be Godzilla that may (or may not) be the American or Japanese version that may (or may not) breathe fire are on the rampage. Bodies litter the streets.

Relief is at hand for Peter who has found refuge in a quiet café at the end of the world. It’s not quite the Restaurant at the End of the Universe but it certainly is a welcome respite from ‘out there’... until a blood spattered woman, Rachel, enters… who happens to be Peter’s ex. Not just any ex as we’re about to find out but what could be best described as ‘The One’ as he is for her.

The night time temperatures may have been plummeting in Perth but that’s nothing to the frosty reception these two initially give each other. But time is running out and what else is there to do but talk about the past, both good and bad, and re-examine two lives once so intimately entwined?

Writer Scott McArdle (who plays Peter) isn’t so much interested in the apocalypse other than to use the concept of the world ending as a context to explore these two people and their relationship over the course of a lifetime. There is no future for this couple but this also gives them the freedom to share experiences and memories; some for the first time, some joyful, some painful, some full of doubt, regrets and even perceived betrayal.

In effect, we witness a series of flashbacks – ‘landmarks’ in their journey together. The conceit here is that they choose what ‘scenes’ to reenact - the first meeting, moving in together, work issues, significant highlights but also notable lowlights that point to the antagonism portrayed in the present. Revelations are disclosed towards the end that lends further poignancy.

McArdle is good as the rumpled, fatalistic Peter but it’s Emily David as Rachel who really shines in a nuanced performance – angry, loving, playful, morose – her character is the one who thought she might live forever yet discovers ‘forever’ has a used by date. The sequence where she is alone on stage including holding an ‘imaginary breakfast’ with Peter is very well performed.

The transitions between the present and the flashback scenes are aided with minimal costume adjustments, lighting (essentially naked light bulbs) and original music composed by Drew Krapljanov who is putting together an impressive list of scores including The Pillowman earlier in the year and SCT’s very own Bye. Gone. It’s the acting, however, that clearly delineates the various timeframes as mood changes are beautifully conveyed.

The dialogue is very strong and everything is paid off nicely – from the reprising of lines (no, I’m not mumbling) to the reward of earlier set-ups as we discover what happened after they split up and, perhaps more importantly, what they hoped might have happened. Scott and Emily have good chemistry together, essential as there is real closeness in the physical nature of their early flashback scenes. There is a wry sense of humour throughout.

The only query I had is when other characters are portrayed – a Doctor and Rachel’s mother. The conversation between the Doctor and Rachel signifies a substantial change in POV for the first time (in that it’s not a shared recollection between Peter and Rachel); the latter is almost a Python-esque style sketch that was tonally jarring.

This is an intimate examination of a couple so the choice of venue, an actual café in Fremantle, adds to the ambience. Seating only thirty I was a mere metre away from the action in the front row. There was no place for either actor to hide and they did a wonderful job.

Written by Scott McArdle and co-directed by Scott and Emily David, Coincidences at the End of Time is being staged once a month at the Moore & Moore café in Fremantle until September. Next performance is 10 July at 7pm and the play runs for approximately 45 minutes. 

Bye. Gone - Second Chance Theatre (25 April 2014)

“You can’t run away from the pain.”

Alaska. A place where the lights are one of the most beautiful things you might ever see. A place where the stars bring more than light and dust. A place the wolves fear. Where memories come to life in the form of “ghostings”. Perhaps the wolves are right to be afraid…

A young man (Nic Doig) is stirred from his slumber in the snow by an old war veteran (Daley King). As they talk both men are visited by visions from their past – the ghostings – that reveal how each man has come to this strange place and why. War has raged for ten years with the promise of twenty more to come. The Old Man has already experienced its horrors, able to recite the number and method of those he has killed. The Young Man is disorientated but seemingly there to meet a friend.

Their memories are played out through The Reflection (Andrew Dawson) who portrays both men – in childhood, young adulthood, through key moments of their past, some good, most clouded by the pall of missing fathers and stern mothers.

The play is a fascinating rumination on guilt, regret, pain and, ultimately, choice. The setting is deliberately surreal – the set covered with white sheets to depict Alaska while clever use of lighting and an excellent soundtrack by Drew Krapljanov usher in the transition to what, in effect, amount to flashbacks as memories are played out before the two men.

Daley King is a strong presence as The Old Man who questions and cajoles The Young Man with authority yet also regret as his secrets are slowly revealed. Nic Doig’s Young Man is more the innocent with the much calmer temperament of the two as he grapples with his current predicament and the examination of his past. Both get to play narrator as memories are re-enacted telling us, particularly in The Old Man’s case, what are lies and what is the truth.

Andrew Dawson not only plays both men in the various memory scenes but over different timeframes – a young child hurt in a fall; playing robots with a childhood friend; moments of first love as a teenager; a café patron on the hunt for rhubarb pie; promising the now older friend that he will enlist and join the war. He does an excellent job in playing an array of emotions in these diverse scenarios.

The key memories, however, revolve around the fractious relationship the men have with their mothers, both women played by Emily David. Motherly concern is paramount but expresses itself in predominantly negative fashion with the slaps David delivers to Dawson (as the Young Man) flinchingly real.

The cast is rounded out by Launce Ronzan as The Friend who goes from wanting to be a robot with a chainsaw for a hand to enlisting to fight in the war and calling The Young Man a coward for having doubts about doing likewise; Shannon Rogers is The Lover who is despised by The Young Man’s mother; Chelsea Kunkler as The Stranger who visits the café every Monday and Friday that The Old Man used to frequent; and Rhianna Hall as The Owner who injects some playful humour as she talks to The Old Man in those past memories.

The whole thing is played out to a thought provoking conclusion that had the audience chatting away as the lights came back up. Indeed it is a thoughtfully written and constructed play with the “flashback structure” allowing great insight into the two main characters. Written and directed by Scott McArdle I enjoyed this examination of the past and how it informs our choices despite of, or indeed perhaps because of, the mistakes we make and the guilt we feel because of them.