Lonely
Lennie Lower by Barry Dickins
At La Mama
Thurs &
Sat 6pm Wed 8.30pm Fri 10pm Sun 4.30pm, until
December 1, 2002
Reviewer:
Kate Herbert
Barry
Dickins and one of his best-loved characters, Lennie Lower, (Simon King) share
many attributes.
Both are
comic journalists, both are unpredictable, outrageous, love a drink and shift
between the hilarious and the tragic.
Lennie Lower
was a real newspaper humorist during the Depression years in Sydney. He made
money for Frank Packer's papers by writing scathing satire. T
Dickins
deals with the fact that Lennie was desperately lonely because of his
alcoholism and his inability to connect with others except to vivisect them for
his column.
It is
difficult to discern where Lower's own writing departs from Dickins'. Dickins
incorporates Australianisms, witticisms, absurdities and jolly japes into
Lower's dialogue.
"I am
an animated gully trap," Lennie quips.
Simon King
is alone on stage as Lower and makes a feast of it. His performance is charming
and challenging. He shifts from raucous drunken hooting, through biting
satirical jibes to the moving revelations of a sad, dying columnist.
Director,
Lucy Freeman, sets the entire piece in a crowded La Mama space designed by
Jonathan Leahey. OK) he lies in a stupor on a long, wooden pub bar draped with
beer soaked towels.
Piles of old
documents, his battered portable Remington and a decorative cash register
surround Lennie.
His bottles
of scotch and stout appear magically through the bar and he sups on glass after
glass as he regales us with comic stories, jokes from his column and maudlin
references to his loneliness.
Dickins has
a powerful way of tossing us about on an emotional ocean. He shifts us from face-aching
comedy to poignant stories.
King plays
the humorist in his last hours, crippled with rheumatism, soaked in alcohol and
steeped in resentment and rage at his wasted life.
He tilts
into a gruff Frank Packer then into Lower's squeaky comrade in drink, William
Ernest Presser.
Lonely
Lennie Lower is one of Dickins early and best plays. It has nto dated and is a
delight to see, particularly with Dickins in the audience heartily enjoying his
own jokes.
By Kate
Herbert
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