The Art of Being Still, Feb 10, 1997

The Art of Being Still by Steve Dawson

Guild Theatre Melbourne University until Feb 22, 1997

Reviewed b y Kate Herbrt around Feb 9, 1997

According to the program notes, writer-director Steve Dawson's mum suggested the collective title for his two plays: The Poofta Plays.ˇ Good title mum!

The first of the pair, The Art of Being Still, is a study in male group behaviour. Never having been a fly on the wall in a wholly male group, I am always astonished by their representation on stage or film. This group of "friends" is the gay counterpart to a bunch of yobs at a barbie drinking beer, ribbing each other and talking about sex. Their humour is cruelly insensitive, crude and almost adolescent. To quote Alan, (Christopher White) the central and most sympathetic character, "With friends like these...?"

If the entire piece had continued relentlessly in this vein it would have been irredeemably offensive and pointless. However Dawson, at the eleventh hour, challenges the pack mentality of the is group and develops an emotional layer to the play which had been lacking.

 After six months of grieving at home after the death of Michael (Evan Higgins) his adored lover, the conservative and likeable Alan, is back for the Monday night rage. Dougie, or Dorothy as he is known in high-camp style, has a new date, Colin, who resembles the dead Michael. Colin is a recently 'out' country boy who, commendably, dumps this nasty clutch of roosters.

Alan, after being offended by revelations about his dead lover, finally challenges them. They ask themselves, "Why do we behave like piranha stuck in a big barrel, trying to tear each other to pieces?" "Because we're good at it?" Perhaps there is hope for some to develop more sensitive relationships.

The script avoids earlier opportunities to explore some real drama to balance the raw comedy: Danny arriving beaten up, Gerald 's pain about being called stupid, Dougie's non-sexual relationship with Colin and Colin's resemblance to Michael. Much of the acting lacks credibility and characters two-dimensional with the exception of Alan and, finally, his closest and most sarcastic friend, Phillip (Iain Murton).

The audience seemed to enjoy the piece but I reached saturation point with the campery and bitching. However, it finally grabs some genuinely dramatic elements. The second play, The Gathering of Vampires, may continue the trend.

KATE HERBERT