Review by Kate Gaul
The Other Theatre – helmed by Eugene Lynch – present this curious, absurd and somewhat baffling play written by German David Gieselman. We’re told in the blurb that this will be a “fierce, fucked-up, black Christmas comedy.” This is a play that requires a confident world view beyond “life is fucked up” and the skill to tell that story through this text.
At his firm's Christmas party Robert Bertrand (Mark Langham) announces his intention to disappear without a trace soon thereafter. Holger Voss (Andrew Lindqvist) is supposed to succeed him as CEO. Holger is a nervous wreck because he feels his colleagues are mobbing him, particularly Heidrun Reichert (Kandice Joy). What Holger doesn't know is that Heidrun is being paid by Helmar, Robert's son (Jackson Hurwood) to systematically sabotage Holger's work. But Helmer wants to play scrabble with Silja (Micaela Ellis). His paranoia is entirely justified, and he might as well save the money he spends on expensive sessions with psychiatrist Dr. Asendorf (Tel Benjamin). On top of that, Asendorf has an affair with Holger's wife (Lib Campbell) - and Heidrun as well. The chaos seems complete when one day Robert really disappears. During an audit, Holger comes across strange irregularities. Then, out of the blue, Francois appears, Robert's long-lost half-brother, who is the spitting image of Robert, used to raise carrier pigeons with him and wants to claim his inheritance.
It was first presented as the English language premiere in Sydney in 2010 as part of Griffin Independent. I mention this because the play – although handsomely produced – was just as baffling then. It is a farce, requires incredible precision and then nuanced acting so that we can connect with a truth behind the “playing”. It’s meant to be a riot and a world where there is no way out for the characters (or actors in this case) and drive the audience to the brink of hysteria. The play is neither sufficiently thematic, funny or focussed in this production and the 80 minutes of playing time drags.
Lochie Odgers has a deal of fun creating a striking set. This is an office space with the mind of a compactor (I say no more as it is a reveal!). The costumes are serviceable with one particular frock constructed from men’s pants which I found intriguing. Lighting by emerging designer Topaz Marlay-Cole and Composition/sound by Christin Pan complete the major creative team.
The production opens with everyone at 11 and the speaking volume becomes an assault. The actual text was tricky to catch at times and with the choreographed breakneck movement I gave up trying to find my way in. And then director Eugene Lynch offers up a salve – as the lights dim onstage, cast member Dominic Lui sings and unaccompanied “Silent Night”. In this moment we all connect – which I suppose is meant to contrast with the chaos of the non- connection in the rest of the play. Anyway, these are great moments interpolated by the director into this Christmas party from hell.
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