The Sax Diaries, Oct 5-9 1999

by Peter Houghton

 at Fitzroy Gallery October 5, 6, 7, 8 & 9, 1999

Reviewer: Kate Herbert

I was sucked in by The Sax Diaries' outrageously fraudulent publicity - but it was worth it.

The Sax Diaries is what quality Fringe Festival fare should be. It is performed in a non-theatre venue, it is an original Australian script, low budget, low maintenance with one actor in her nightie and two musicians. The set is a single couch and two cooking pots and the style is broad, abstract and hilarious.

It is also a huge hoax. The publicity informs us that "renowned travel writer, Petra Sax" wrote it, Rifsted Mifke adapted it, Rainer Schnauzer directed it and the visual component is by Helga van Vonstrom. It is listed as winner of the Ernst Schlagen Award at Ghent and the program quotes from a newspaper called "Der Junge". Even the first two performances were fakes.

It is all fraudulent and almost a mockery of experimental theatre. In fact, by Peter Houghton wrote it, Tom Healy directed it and the visual component is actually the sculpture garden of the Fitzroy Gallery. Fortunately, all components, including the "aural component" (music and live soundscape by Lucy Jones/Ross Mueller), are delightful.

Anne Browning is the sole actor. She is compelling as the fraught and hysterical Hausfrau who fantasises about the roving life of her friend, Petra. The woman is like a Toorak tart whose world revolves around her house, cocktail parties, gowns and her husband's affair with his secretary.

Houghton's script (He is ironically credited with "artistic stimulation") is clever and witty. The woman's mind hops, like a winged bird, from topic to topic. Thoughts collide, her inner world bleeds into her outer world.

Tom Healy has stylised the woman's action. He has even modelled her poses on female statues in the gallery courtyard. He establishes an irregular and fascinating rhythm with lyrical, fluid moments interspersed between frenetic action. It is a dynamic and stylish form.

Browning captures an enormous dynamic range, both vocally and physically. She gallops like a wildebeest then curls up like a lamb. Her performance is sensational.

This unique performance deserves an extended or return season. It's worth it. Fringe doesn't get any fringier.

by Kate Herbert