Another winter almost gone

This was meant to come out last week except unwellness to my family and now I slowed it down.  Extra household duties arose when three of our household were struck down, leaving one on crutches and I.   Getting to the end of it now so should be back to normal soon.   Another excuse to limit Bridge to Brisbane preparation, so will just start the way I am and hopefully get to the other end in time for Gma’s birthday brunch.

This addition is mainly a review of “Other Desert Cities” and some comments about the merits of live theatre. Here goes

Deceit in the Desert

“Other Desert Cities” by Jon Robin Baitz was put on by the Queensland Theatre Company in collaboration with the Western Australia Theatre Company.  This play is sset in Palm Springs, USA in the 1980’s.  The action takes place in the home of Lyman and Polly Wyeth on Christmas Eve.  Their daughter Brooke, an author, and son Trip, a reality TV  host, have come to visit to help celebrate Christmas.  Silda, Polly’s sister, is living with them as a reformed alcoholic.  Lyman was an actor, then became involved in politics, a republican who classes Ronald Reagan as his friend.  Polly was a writer as was her sister , Silda.  Brooke published her first and last book six years ago and has since been struggling with depression and the like.  She has now written a memoir about the family, has a publisher lined up and is seeking the blessing of her parents before going to print.

Hence the scene, a family full of artistic personalities and differing political viewpoints coming together at that emotional time of the year.

Brooke’s book is mainly about a part of family history that is generally taboo in polite conversation.  To assist in getting the “facts” right Brooke uses her aunt who has a loathing for her sister.   

With lots of tension in the air, all manner of family secrets come to light.

The interval took its time to turn up accentuating the slow start to the show.  For some it must have been too much as three in the seat in front of me did not return.  There was action aplenty in the second part as twists and turns continued to keep me engrossed.   Earlier, when I had ample time to think, I wondered what conclusion would eventuate.  I had no idea and would not have got close with three guesses.  When it came, it was the perfect ending.

The set was superb.  Perfect for putting me in an affluent central west american home looking out onto a desert landscape as morning turned to day then dusk to night.

The acting was loud and out there as the playwright might demand.  It seemed the older three were more polished  while the young ones may have been a tad over-the-top, which could well be in keeping with the play.

For me the script scored ten out of ten for those looking for a commentary on US conservative values of the eighties with a healthy dose of family relations thrown in.   It raises the questions of truth and historical perspectives - how history can be vastly different depending on what you know and what you don’t.  How okay is it to live a lie when doing so can damage those close to you, albeit unwittingly, but exposing the truth can hurt your reputation, destroy your social standing and put someone you love in danger?  It was a great reminder that the “truth” will find its way to the surface regardless of how hard you try to cover it up.

“Other Desert Cities” as a title purportedly comes from a sign on the way to Palm Springs  that says “Palm Springs” one way, “Other Desert Cities” the other.  Perhaps a hint that the play may not be what it seems at first glance.  Regardless, I thoroughly enjoyed the play once the momentum was achieved.

Why go to the theatre?

When I was about to leave for the play briefing on “Other Desert Cities”, my son asked me why I would go to a play preview, indeed why would I go to a play.  I gave some half-baked  response about seeing stars up close.  When I got to the briefing, the question got there before me.  Wesley Enoch, QTC Artistic Director, and the acting cast provided me with a much clearer response.  I hope the following summary of their input can do it some justice.

Apparently, the aim of the players in ancient Greece was to capture the souls of those in the audience, take these souls on a journey and return them at the end of the performance.   So you go to live theatre to give your soul a break from everyday living thus  revitalising the whole you to better cope with the tasks ahead.   When the actors were discussing the difference for them between live theatre and TV or movies, it was clear that each theatre performance is unique as the response of the audience contributes to the actors portrayal of the part they were playing.  Rebecca Davis (Brooke) was asked why she took up acting.  She described her experience as a young girl going onto the stage a a particular performance and just sitting there enjoying the magic that still hung in the air long after the show had ceased.   It is this invisible aura that draws people to live theatre.  In the movies, you know when an actor does a superb performance, but try describing why that performance was so much better than those around them or indeed their previous performance.   That is why I go to the theatre, to be part of “ordinary” actors producing oscar winning performances.

Swimming Challenge

I did manage 8 laps of our cool pool in August - could have easily done more but did not want to push my luck with the wogs engulfing our house at present.  The extra warm August helped so should be no excuses in September.

Time breezes on

Footy finals are on us, it must be close to spring, elections, then back to a full house, ending our career as school parents, end of Chemo , Christmas, and soon after, only big people at this house.

"Trollop" Review

It was too late to include two reviews in my July contribution so have added an early August update to include review of "Trollop" which Mary-Anne and I took in last night.  Here it is for anyone interested.  Highly recommended for anyone who enjoys different theatre and can cope with confrontational theatre.

Trollop Review

We were part of the preview audience of Maxine Mellor’s “Trollop” put on by Queensland Theatre Company last night.   Thankfully we had the opportunity to scan the program while   waiting as such knowledge provided for a greater appreciation  of the developments on stage.   When we were introduced to the four co-directors/designers before the play, it seemed odd to have four “bosses” while only three actors.   This was easily accounted for by the end of the show.

The play centres around an unemployed writer (Clara) who is reluctant to seek other jobs.  She stays at home (her boyfriend Erik’s apartment) all day where she is bombarded by the news of destruction all around.   A large flood has affected the area although leaving her home untouched.   

Erik manages to convince her to write another pop-up children’s book and is happy to oblige when she seconds him into collecting a variety of weird materials that she needs.

The action on stage certainly confronts.   Words and actions seem deliberately chosen to give the “in your face” effect.  Much would have made less sense without the pre-reading, nonetheless, a bit of head scratching was still required.   Perhaps to strategically reflect the “other world” that long term unemployed can find themselves drifting into when surrounded by constant negativity.

It was well past half way in the play before the third actor, Eugiene entered.  When she did, a whole new dimension was added with the inclusion of religion, sex and drugs.  From here it was particularly difficult to discern between “reality” and “fantasy” - the effect of alcohol and pot being indulged in by the characters might have dispersed to the audience - was it sex or salvation being peddled?

The ending mimicked the other parts of the play screaming “what is the point?”   Maybe that was the desired effect.   As a regular season ticket holder over the past few years, I can not count the number of times that I have walked away from shows put on by QTC with the assertion “wow, that was different”.  Certainly this applied to “Trollop”.

In contrast to “1001 Nights”, I am not sure if I “enjoyed” this play.  I certainly was glad that I went.   The stage effects were extraordinary - no wonder four directors/designers were required.  Other aspects might have overshadowed the efforts of the actors who might have performed brilliantly or ordinarily depending on what they were trying to portray.   In keeping with the play overall, I gave up trying to discern what the writer intended to be obvious and what might have been implied.