The Wilderness Room by Gilgul, 2 December, 1994

 By Gilgul

At 321 Chapel St. Prahran 8.30 pm until Dec 21, 1994 (not Fridays)

Reviewer: Kate Herbert around 2 December 1994

This review was published in th Melbourne Times in early December 1994.. KH

 

 The abstract in theatre can be riveting, illuminating and succinct and Barrie Kosky's previous Gilgul shows have had their fair share of these qualities. In The Wilderness Room, the latest production from this company, there are a few inspiring images, most of which are in the last 20 minutes of the one hour performance but a heavy symbolism disguises a lack of content .

 

The intention of the piece is noble and interesting, aspiring to represent the experience of the five Jewish convicts who were on the First Fleet. It draws cunning parallels with the Jews wandering in the wilderness for forty years after their escape from Egypt under Moses leadership and the immigrant - convict forced expatriation.

 

The Jews bring with them their rituals and conventions: Passover, Elijah's chair and cup, joyful and poignant songs which are often the most moving and atmospheric moment in the performance.

 

All five performers work very hard with Kosky vigorously playing piano and harpsichord live on stage. The company has a strong ensemble feel and a recognisable style based on the Polish and Yiddish theatre. It incorporates mask-like faces, minimalist design (by Peter Corrigan), physical, non-verbal performance, weighty symbolism and non-narrative form.

 

Some wonderfully evocative images remain with me: five figures with their heads draped in sodden white cloths; three actors stitching their eyes and mouths shut to avoid imbibing any of the Australian culture which is represented by the sudden unveiling of Hans Heysen landscapes; the new arrivals pulling tailors' tape measures from their mouths (presumably a reference to the Jewish rag trade?); five packing boxes clattering and swirling about the dimly lit space as First Fleet ships.

 

The perky Brazil '66 music during the musical-Passover-chairs scenes off-set the seriousness of other images.

 

The problem is that without the aid of the program notes the audience would have no idea about the five Jewish convicts' lives or even what the action meant. At times, the movement is repetitive and abstracted to the point of meaninglessness and tedium. When the action is supported by music, song or a rhythmic pace, the meaning is much more successfully communicated.

 

This Gilgul production lacks the icy irony and black clown quality of previous shows which prevented them from being too earnest.

 

By Kate Herbert