Meat by Nick Meenahan , Sep 4 1997

Meat by Nick Meenahan

at Universal Theatre 1 until October 5, 1997

Reviewed by Kate Herbert around 3 Sep 1997

My mum's favourite shopkeepers were a comic double act of local butchers. What is it about meat that makes them jolly, warm and flirtatious in a way acceptable to the oldest, most conservative women?

Meat, a solo show by Sydney actor and clown, Nick Meenahan, explores The Joy of Meat. 'Pleased to meet ya. Meat to please ya,' he quips with a cheeky cock of the head and a knowing wink.

Meenahan, an ex-butcher, blends pathos with comedy in this hilarious, touching hour. Stan the butcher has a charming vulgarity. He is adorable and crass. He loves women and flirts with every single one. He has even had flings in the cool room. 'Even die-hard feminists come in to be chatted up in secret.'

There are parallels drawn between the carcass, which he so skilfully and dispassionately carves before our eyes, and the fleshly pursuits of the human race he studies through his customers. He casually suggests he has always wanted to carve a human; perhaps he'll use his unreliable apprentice as a guinea pig.

Stan is 'a dreamer in a world which does not tolerate dreamers.' He pines for the days when quality meat meant quality service and his sixteen workers were committed to fine butchery. He loaths the inhumanity of supermarkets where there is no love for meat or customers.

Meenahan is a lovable whiteface clown with a wicked gleam in his eye. He engages the audience directly, asks questions and launches into songs and dance routines that are part of Stan's fantasy to be a performer.

With crafty direction by Peter Hayes and some clever, well-observed writing, Meenahan peoples Stan's world with off-stage characters. Pete the drunk pops in for a fry-up between flashing himself at local shoppers. Pete's brother, Ronnie, Stan's workmate, was killed in a car accident out front. Meenahan has an uncanny way of making the tragic hilarious.

The sound design (James Vickery, Mel Broe) provides a colourful, evocative character and musical background. The vivid and inventive lighting by Geoff Turner allows Stan to travel through time and space. John Studmore's set of cow carcass and butcher's paraphernalia imbedded in sawdust evokes the old family butcher shop.

Stan's collection of knives is scary but the show is hilarious, skilfully constructed and playfully performed.

KATE HERBERT