Sanctus by Chris Dickins, Nov 6, 1996

At Merlyn Theatre
Performed by Ballarat University

Until November 9, 1996

Reviewed by KH round Nov 5, 1996

Chris Dickins is a gem of a playwright whose plays continue to appear in productions from country Victoria. Sanctus is the latest and has arrived as the graduate production for Performing Arts students from Ballarat University.

The core narrative of Sanctus is the convergence of two stories based in a church on the Murray River. One begins in 1900 when the church was constructed, the other in 1996 when it is to be demolished. They collide during the war in 1940.

Dickins has always been interested in challenging dramatic structure and Sanctus does so with a cocked eye. It is a brain teaser to follow the story both backward and forward through discrete episodes, but Dickins' writing has such a lively lyrical quality and his characters are so quirky and colourful that it a joy to watch and listen to his ramblings. A priest's nightly "midnight moan", a swaggie's broad Aussie lingo, a novice's existential dilemma, a madwoman's dislocated ravings: all fill the broad stage at the Merlyn.

Director, Peter Tulloch's production showcases students' acquired skills in an entertaining and coherent piece which has a fluid choreographic style. Although actors shifting character was at times difficult to follow, the story rolled on like the Murray alongside which it resided. Tulloch has developed a delightful, live vocal soundscape with actors out of scenes but visible evoking creatures, elements and Gregorian chants.

The students must be commended for have found funding, designed, produced and mounted the production, in line with much of the fringe theatre industry in Victoria.

Although, for some of the actors, the emotional layering of Dickins writing is out of reach, there are several strong performances within the ensemble: Kylie Lockwood's cameo as the madwoman, John Bolger's Father Brendan and Renee Willner as the 60's hippy, "Jesus H Christ'.

However, for this audient, Damien Muller's exceptional design was the star of this production with its extraordinary flexibility and swift scene changes creating evocative spaces.

KATE HERBERT