Nil, Cat and Buried by Stephen Sewell
At La Mama at Courthouse until May 13, 1995
Reviewed by Kate Herbert around 28 April 1995 for The Melbourne Times
There are two stars in Nil, Cat and Buried by Stephen Sewell: David Pledger's crisp, vigorous direction is the first and he is evidently also responsible for suggesting to Stephen Sewell that he combine three short pieces into this one script.
Pledger has developed a powerful kinetic style which relies heavily on the ensemble. As in his Taking of Tiger Mountain, he has created an economical and often witty physical language of repeated gesture and movement which is concentrated in the three-person chorus. (Danielle Long, Paul Bongiovanni, Greg Ulfan) who comment, quip, mimic and abuse.
They make broad, simple statements which translate as a chorus of breakdown underlying the fraught and often violent communication of a man and woman (Leon Teague, Tamara Saulwick) dealing with being stranded in an isolated house together as their relationship collapses.
Shane Feeny-Connor is the second star. His intense and strange persona as Cat is riveting. His presence draws the eye and his words shock, lull and reverberate in the unadorned Courthouse space. Sewell's words in his hands are like poison darts, his imagery of "the unnameable horror" of which we are all capable, is relentless. His extraordinarily powerful role as Mal Hennessy in Janus was no fluke.
The whole piece leaves one shell-shocked. I was less concerned with the content and the actual words, which are pungent but not particularly new, than with the mode of delivery. The actors confront and challenge us directly. Feeny-Connor climbs onto the scaffold seating and gets right in your face. It is a very fine exercise in style executed with great finesse by Pledger and his cast.
By Kate Herbert
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