Away, May 4, 2017 ***

Written by Michael Gow, by Malthouse Theatre 
At Merlyn Theatre, Malthouse, until May 28, 2017
Reviewer: Kate Herbert
Stars: ***
Review also published at Herald Sun Arts online on Fri May 5, 2017 and later in print. K

 Julia Davis, Marco Chiappi, Natasha Herbert, Heather Mitchell, Glenn Hazeldine - photo Pia Johnson 

Imagine Christmas holidays with stinking hot, summer days spent in a tent or caravan then add a cyclonic storm and fraught family relationships, and you have Michael Gow’s 1986 play, Away.

Set in the summer of 1967, when the previous, older generations collided with the modern, youthful 60s and Australian boys were dying in Vietnam, Away follows three families on their various summer holidays where they confront their grief and the fragility and changing nature of their lives.

Because of its abstract style and its focus on issues including family, grief and redemption, Away is popular with schools and often studied in VCE.

Julia Davis and Wadih Dona are warm and engaging as English immigrants, Vic and Harry, who maintain a relentlessly cheerful demeanour to avoid facing their son Tom’s (Liam Nunan) ill health.

Glenn Hazeldine balances playfulness with sadness as school principal, Roy, while Natasha Herbert portrays his grieving wife, Coral, with an eerie, disassociated distance that embodies Coral’s depression.

In perhaps the most fractious relationship, Marco Chiappi’s Jim is gentle and tolerant with his peevish and maddening wife, Gwen, played by Heather Mitchell with barely masked, seething rage that Gwen directs at everyone and everything, including her daughter, Meg (Naomi Rukavina).

Matthew Lutton’s stylish production is most successful in the early scenes before the holidays begin, when the entire cast performs a hilariously shambolic high school, end-of-year version of Shakespeare’s A Midsummer Night’s Dream, and we witness the families preparing for their trips.

The anxious atmosphere in each household suggests hidden issues and hints at the impending, grim and explosive problems confronting these temperamental families.

The atmospheric lighting (Paul Jackson) and stark stage design (Dale Ferguson) elevate the almost supernatural quality of the production, accentuating the sense of dislocation and confusion of the characters.

The stylisation of Lutton’s direction is often visually interesting, but ultimately and perhaps frustratingly, it is unclear what Gow’s play is really trying to say, it is also unclear whose story it is, and the threads to Shakespeare’s plays, The Tempest, King Lear and The Dream, are tenuous at best.

Further problems occur towards the end of the play: both Gwen and Coral recover and learn to commune with the rest of the world rather too quickly and effortlessly, and the final scene is almost absurdly melodramatic when Tom ‘walks into the light’.

Despite its flaws, Gow’s popular play has become part of the Australian theatre lexicon and this production succeeds to a great degree because of its capable cast.

By Kate Herbert

 Marco Chiappi, Heather Mitchell, Natasha Herbert, Wadhi Dona, Julia Davis & Liam Nunan_photo Pia Johnson

Matthew Lutton - Director

Dale Ferguson - Design

Paul Jackson - :Lighting

J David Franzke - Sound

Cast

Julia Davis - Vic

Wadih Dona - Harry

Glenn Hazeldine - Roy

Natasha Herbert - Coral

Marco Chiappi - Jim

Heather Mitchell Gwen

Liam Nunan - Tom

Naomi Rukavina - Meg

Sex Diary of an Infidel by Michael Gurr, review fom July 1992

Dear all, I found a photocopy of my original review of  Sex Diary of an Infidel by Michael Gurr. 

It was printed in The Melbourne Times in July 1992. I have transcribed it here for you. 

Thank you, Michael. xxx

 Sex Diary of an Infidel by Michael Gurr

Playbox Theatre

Beckett Theatre until July 18, 1992

Reviewer: Kate Herbert on or about July 2, 1992

Published in print in The Melbourne Times in July 1992

There is quite a lot of sex on stage in this new play from Michael Gurr. Not the lurid sex one might expect from a story of exploitation in the Philippines but surprisingly, the sex hat comes of immediate attraction or intimacy.

Jean, an award-winning journalist (Janet Andrewartha), takes her devoted lover and photojournalist Martin (Kevin Harrington), to investigate the sex trade in the Philippines. She interviews Max, an Australian expatriate played with a delightfully wry touch by Roger Oakley, who runs an escort agency. His ‘special’ worker is Tony, the Philippino gender-bender played tastefully by Anthony Wong.

There the story about the ‘trade’ ends. This is a play which looks at the infidelity of the title in the broadest possible way. Disguise, deception, lies and manipulation seem to be rife. Some are victims, some perpetrators. The story becomes an expose of the tricks of the relationship trade rather than the sex industry.

Michael Gurr’s writing is sensitive and funny. The dialogue is subtle, layered and riddled with irony. Characters build slowly and the story is revealed in surprising and short bursts, like the guerilla fire of the Philippino insurgents.

Bruce Myles’ very stylish direction keeps all characters onstage throughout in an almost voyeuristic role. They peep and eavesdrop on each other’s conversations but the director never allows them to intrude on the dynamic of the scene. This is enhanced by a very interesting and flexible stage design by Judith Cobb.

 Performances are very strong in this company, indicating intelligent casting and direction.  Kevin Harrington’s Martin is appealingly gauche and adoring, and Janet Andrewartha is a sound lynchpin for the story. Anthon Wong lights up the stage on each appearance and is effectively balanced by his pimp, played by Roger Oakley.

Some script problems arise in the second half. Action escalates too quickly. Information about the pasts of the characters rattles along like gunfire but it seems that the story turns on some rather unlikely or, at least, unclear events and both story and characters become a little muddy.

This is a fine new play for Melbourne’s flourishing theatre scene. It is engaging, clever and – whose sex diary is it anyway?

By Kate Herbert July 1992

Vale, Michel Gurr.

Vale, Michael Gurr.

I saw many of Michael's plays over the past decades and reviewed at least four of them.

Three of those reviews are on this blog although I don't have the original copy for Sex Diary of an Infidel.

My heart breaks for the loss of this talented soul. KH

Something To Declare
http://kateherberttheatrereviews.blogspot.com.au/2004/07/something-to-declare-by-michael-gurr.html
The Simple Truth
http://kateherberttheatrereviews.blogspot.com.au/2002/09/simple-truth-by-michael-gurr-playbox.html
Shark Fin Soup
http://kateherberttheatrereviews.blogspot.com.au/1998/09/shark-fin-soup-by-michael-gurr-sept.html
Sex Diary of an Infidel
I reviewed this in July 1992 for The Melbourne Times but I don't have copy for it.

Cabaret, May 1, 2017 ***

MUSICAL THEATRE 

Book by Joe Masteroff based on the play by John Van Druten & original stories by Christopher Isherwood

Music by John Kander & lyrics by Fred Ebb; 
Original concept & direction by Harold Prince; produced by David M. Hawkins; 
Atheneaum Theatre, until June 3, 2017
Reviewer: Kate Herbert on May 1, 2017
Stars:***

Review also published in  Herald Sun Arts in print & online on May 3, 2017. KH

Chelsea Gibb & Cast_pic John McRae

The Berlin Kit Kat Klub, with its dissolute cabaret, comes vividly to life in the faded 19th century glory of Melbourne’s slightly musty Atheneaum Theatre for this revival of the provocative musical, Cabaret.

Gale Edwards’ production of Kander and Ebb’s sassy and saucy musical, with its audaciously sexualised choreography by Kelley Abbey, focuses on Berlin’s seedy entertainment underworld and the debauchery that was rife during the Weimar Period before World War Two.

The essence of this shabby, salacious and corrupt world is captured splendidly in the imaginatively decadent design (set and costume, James Browne) and evocative lighting (Rob Sowinski).

There is much to recommend this production, starting with the talented Chelsea Gibb as Sally Bowles, the slightly toffy English gal who scratches a living as a second-rate cabaret singer with a sideline in seedy prostitution at the Kit Kat Klub.

Gibb’s emotive rendition of the title song, Cabaret, is poignant and internalised at the beginning then escalates into heart-rending despair that brought the crowd to its feet on opening night.

However, the production had to overcome technical difficulties that made Gibb inaudible at the start of her big number, Cabaret, because of unbearable crackling in the sound system. Edwards stopped the show and sent Gibb off to get her microphone fixed – well, sort of fixed.

 Paul Capsis (centre) & cast_pic John McRae

The popular Paul Capsis plays the Emcee (Master of Ceremonies) as a camp and cynical voyeur who prowls the stage observing the sleazy, scandalous or despairing characters, commenting to the audience and making us complicit in his mocking observations.

Kander and Ebb’s music is the star of Cabaret, and the big crowd-pleasers are Capsis singing Wilkommen and The Money Song, Gibb’s Don’t Tell Mama and Jason Kos’s The Telephone Dance, all performed with the sassy, androgynous chorus of boys and girls.

Musical director, Lindsay Partridge, leads a tight and exuberant on-stage band that plays the award-winning music with pizazz.

Kos plays the American innocent abroad, Clifford Bradshaw, Sally’s friend and bisexual lover, and his singing has warmth in Don’t Go, although there is limited scope for development in this character.

A highlight is the poignant relationship between frumpy land lady, Fraülein Schneider, played by the sultry and funny Kate Fitzpatrick, and Herr Schultz, her Jewish fiancé, played with warmth and naiveté by John O’May.

Deborah Krizak is a riot as the shameless hooker, Fraülein Kost, and Michael Cormick gives an assured performance as the unscrupulous Nazi, Ernst Ludwig.

Strangely, the production lacks the requisite sense of impending doom, apart from during the unnerving chorus of Tomorrow Belongs To Me at the end of Act One.

The various components of the show – songs, dance, scenes and commentary by Emcee – all work independently, but somehow do not quite form a cohesive whole.

Although this production needs to settle and overcome its teething problems, the memorable music, eccentric performances and the cynical political commentary will still entertain audiences.

By Kate Herbert 

Choreography Kelley Abbey

Direction (Melb) Gayle Edwards

Cast

Paul Capsis Master of Ceremonies Emcee

Chelsea Gibb Sally Bowles

Michael Cormick Ernst Ludwig

Kate Fitzpatrick Fraulein Schneider

John O’May Herr Schultz

Deborah Krizak Fraulein Kost

Jason Kos Clifford Bradshaw

Kit Kat Gals

Michelle Barr

Angelique Cassimatis

Sam Hooper

Nick Jones

Matthew Manahan

 

The Realistic Joneses, April 30, 2017 *** 1/2

THEATRE
By Will Eno, by Red Stitch Actors Theatre 
Red Stitch Actors Theatre, until May 28, 2017
Reviewer: Kate Herbert
Stars: ***1/2

 Review also published in Herald Sun Arts online on Monday May 1, 2017 and later in print. KH

Neil Pigot & Sarah Sutherland - photo credit Teresa Noble Photo

The characters and experiences are simultaneously achingly familiar and strangely alien in Will Eno’s eccentric play, The Realistic Joneses.

An older, married couple, Bob (Neil Pigot) and Jennifer Jones (Sarah Sutherland) live in an American mountain town and, one night, their new, younger neighbours, John (Justin Hoskin) and Pony (Ella Caldwell) Jones, drop by to greet them, with a clatter of rubbish bins and a bottle of wine.

Their shared surname and Pony’s odd first name are not the only unusual things about this young couple, as Bob and Jennifer discover in each ensuing and intermittent meeting, whether it be a chance encounter or a planned get-together.

Eno’s well-crafted play is a series of short scenes between the various characters, starting with the recognisably awkward interactions of strangers, then slowly transforming as these four, lonely and troubled characters unveil their intimate secrets and reveal their darkest fears to each other.

Julian Meyrick’s assured direction focuses on the evolving relationships and balances comedy with poignancy.

Pigot is compelling as the ailing, ageing and blunt Bob, and he projects a moving frailty, vulnerability and childlikeness as Bob struggles to organise and communicate his befuddled thoughts.

In a nuanced performance, Sutherland captures Bob’s beleaguered wife Jennifer’s painful sense of loneliness and loss as she wrestles with the frustrating day-to-day reality of Bob’s failing health.

Hoskin portrays John initially as an oddball who converses in an annoying series of quips and non-sequiturs, then deftly transforms John into a frightened man who begins to open his heart, first to Jennifer, then Bob and, finally – maybe – to his wife, Pony.

Caldwell balances Pony’s bizarre behaviour with a sensitive depiction of her as a nervy child-woman who does not understand her own thoughts and fears or even the world around her.

Despite the title of the play, these two Jones couples struggle with reality, and Eno’s narrative and style straddle a peculiar line between realism and the absurd, or existential philosophy and wacky situation comedy.

All the characters seem sadly isolated in their marriages and in their neighbourhood, frightened by their circumstances or bemused by their fates.

However, Eno’s play is not fatalistic or depressing but, rather, it is thoughtful and, by its end, almost Buddhist in the way it encourages both characters and audience to accept their lives and their partners as they are, not as they want them to be.

The Realistic Joneses is gentle and offbeat storytelling by a clever, dramatic craftsman.

By Kate Herbert

Three Little Words,, April 22, 2017 ***1/2

THEATRE
By Joanna Murray-Smith, Melbourne Theatre Company
Southbank Theatre The Sumner, until May 27, 2017
Reviewer: Kate Herbert on April 22, 2017
Stars: ***1/2

Review also published in Herald Sun Arts online on April 27, 2017 and in print. KH

Peter Houghton, Catherine McClements- Pic Jeff Busby

Although separation is not a contagious condition, witnessing the breakdown of friends’ relationships may be distressing and it can certainly be unsettling for other couples.

In Three Little Words by Joanna Murray-Smith, Tess and Curtis (Catherine McClements, Peter Houghton) blithely announce to their closest friends, long-term couple, Annie and Bonnie (Kate Atkinson, Katherine Tonkin), that they are splitting after 20 years of wedded bliss.

What follows is the brutal, and often funny dismantling of Tess and Curtis’s marriage as well as the destabilising of Annie and Bonnie’s relationship as they are forced to confront the rusted-on patterns of behaviour in their own, two-decade partnership.

What begins as absurdly reasonable negotiation between Tess and Curtis soon develops into nit-picking criticism that morphs into vindictive arguments then escalates into scrappy, idiotic physical fighting.

Murray-Smith’s quick-witted dialogue and Sarah Goodes’ sleek direction keep the action moving and the emotional conflict searing.

McClements captures Tess’s manipulative and insensitive nature without losing our sympathy, despite Tess being absolutely slappable when she spouts pop psychology, declares her ‘yearnings’ to find herself outside of her marriage, or denigrates Curtis’s choice to be a school teacher.

Houghton convincingly portrays Curtis’s evolution from confused, beleaguered and obliging husband to confident, happy, middle-aged man who moves on with his life – rather too quickly and successfully for the women around him.

Atkinson plays the naive and loving Annie with warmth and sensitivity, allowing her gentle and accepting nature to shine despite the criticism she suffers when Bonnie treats her as a lovable under-achiever.

As Annie’s partner, the capable and high-earning art-dealer, Tonkin balances Bonnie’s patronising and controlling behaviour with her fierce loyalty and inherent goodwill.

In spite of their alarming and childish behaviour and their obvious flaws, all four characters are strangely likeable, perhaps because of the familiarity of their human failings.

The living areas of the two couples’ homes sit atop a suspended, solid square floor that revolves between scenes (design by Michael Hankin), gives the impression of time passing, the world spinning and people changing but the overall effect is disorienting for both audience and characters.

Although the brutality of the demise of Tess and Curtis’s relationship is alarming, it is also recognisable and Murray-Smith’s treatment of it is witty and entertaining.

By Kate Herbert

Richard 3, Bell Shakespeare, April 21, 2017 ***1/2

THEATRE 

By William Shakespeare, by Bell Shakespeare Company 
At Fairfax Studio, Arts Centre Melbourne until May 7, 2017
Reviewer: Kate Herbert on April 21, 2017
Stars:***1/2

Review also published in Herald Sun Arts online on April 27, 2017 & later in print. KH

Kate_Mulvany_RichardIII_Bell_photo PrudenceUpton

Our world is blighted with political corruption, bloodthirsty despots and blind ambition, so Shakespeare’s manipulative and murderous Richard Plantagenet may have more in common with 21^st century leaders than we would like to believe.

In Peter Evans’ production of Richard 3, the diminutive but volatile Kate Mulvany successfully crosses gender to play the notoriously brutal but physically disabled Richard 3 (AKA Richard III, Duke of Gloucester or Richard Plantagenet).

It is testament to the potency of Mulvany’s performance that most of the opening night audience leaps to its feet when the lights fade on her Richard as he lies defeated and alone on the battlefield.

On a set resembling an opulent cocktail lounge (design by Anna Cordingley), Mulvany’s Richard surrounds himself with supporters, frenemies and those who are outright hostile to his naked ambition to become king by murdering his way to the throne.

Even when not in scenes, the actors remain on stage in soft tableaux, watching the unfolding action with trepidation, pleasure or amusement, all of which emphasises the intense, dangerous and claustrophobic quality of the royal court; nobody can leave and their loyalties are constantly tested.

Mulvany’s painfully contorted, physical portrayal of Richard is compelling – in a ‘can’t look away’ way – and expresses literally Shakespeare’s characters’ grotesque descriptions of Richard as a ‘bottled spider’, ‘lump of foul deformity’ and ‘poisonous, bunch-back’d toad’.

Any wonder a man who suffers such cruel abuse and ridicule from family and peers – even from his mother – becomes a villainous, sadistic, misogynistic and resentful loner bent on a power grab.

Mulvany’s depiction of this smiling, witty and intelligent villain is credible from the very start of Richard’s famous, opening soliloquy, ‘Now is the winter of our discontent’, when she establishes Richard’s credentials as a scathing, scheming, Machiavellian leader.

Against our better judgment and despite Richard’s viciousness, Mulvany cunningly garners our grudging sympathy for Richard when we witness his increasing isolation and the abuse he endures.

Mulvany’s Richard is often funny, but her conspiratorial winks and grimaces to the audience sometimes dilute the impact of Richard’s vile machinations when significant or grim moments elicit unexpected or inappropriate laughs.

Evans’ choice to set the play in a modern but unspecified period, during which characters appear to be at a boozy party, is inventive, while his use of unaccompanied singing during scene changes is atmospheric.

Most, if not all of the script adaptations are effective, but the altered final scene, with its borrowed excerpt from Henry VI, Part 3, sees Richard, not Richmond, closing the play, and this provides the opportunity for the crowd to cheer Mulvany at the end.

A cast of nine supports Mulvany, with the women playing single characters, while most of the men play multiple roles that depict the constantly changing parade of Richard’s supporters and opponents.

Kate_Mulvany & cast RichardIII_photo_PrudenceUpto

James Evans plays the dignified kingmaker, Buckingham, Gareth Reeves is the trusting Clarence, Ivan Donato the homicidal Tyrell, James Lugton portrays snooty Rivers, and Kevin MacIsaac is both King Edward and the invading upstart, Richmond.

Meredith Penman’s Elizabeth captures the emotional torment of the widowed queen and mother of the murdered heir to the throne, while Rose Riley, as Lady Anne, is suitably timid and confused by Richard’s seduction.

Sarah Woods finds passion in the Duchess of York’s disdainful and harsh attack on her son, Richard, while Sandy Gore delivers Queen Margaret’s venomous curses with cold restraint, although her style is too mannered to be threatening.

Mulvany inhabits the role of Richard with relish and this production, although not entirely successful, is certainly an interesting re-imagining of Shakespeare’s vile usurper, Richard 3.

By Kate Herbert

Cast:

Gareth Reeves,Ivan Donato,Rose Riley,James Lugton,Meredith Penman,James Evans,Sandy Gore, Kevin MacIsaac & Sarah Woods

Director Peter Evans

Designer Anna Cordingley

Lighting Designer Benjamin Cisterne

Composer Steve Toulmin

Sound Designer Michael Toisuta

Movement & Fight Director Nigel Poulton

Dramaturg Kate Mulvany

Voice Coach Jess Chambers

Aladdin - The Musical, April 20, 2017 ****

MUSICAL THEATRE 

Music by Alan Menken; Lyrics by Howard Ashman, Tim Rice & Chad Beguelin; Book by Chad Beguelin

Produced by Disney Theatrical Productions; based on the Disney animated movie, Aladdin 

At Her Majesty’s Theatre, Melbourne, until August 27,  2017 

Reviewer: Kate Herbert on Thurs April 20, 2017 

Stars:****

 Review published in Herald Sun Arts online on Thurs April 20, 2017

Genie - Michael James Scott_Photo By Deen van Meer

With its blazing jewel colours and the electrifying energy of Michael James Scott as the audacious Genie, this luscious production of Aladdin ignites the stage at Her Majesty’s on its Melbourne opening night.

In this stage musical based on the 1992 Disney animated movie, Aladdin (Ainsley Melham) is a poor thief who falls in love with Princess Jasmine (Hiba Elchikhe), stumbles upon a magic lamp, then enlists the help of the Genie in the lamp (Scott) to secure his marriage to Jasmine.

Aladdin is an effervescent, musical romance for the whole family with its jaunty, singable tunes (Alan Menken) that draw on a range of music styles, witty lyrics (Howard Ashman, Tim Rice, Chad Beguelin) and a cheeky, comical story (book by Beguelin).

Casey Nicholaw’s direction, staging and vivacious choreography drive the production at a lively pace and owe a great deal to the Broadway and Hollywood musicals of the 1930s and 40s, which is exemplified by the feverish, tap-dancing routine in the Cave of Wonders.

The non-human stars of the show are the lavish set (Bob Crowley) and vivid costumes (Gregg Barnes) that echo the opulence of the fabled Arabian Nights with Moorish tiles, Middle Eastern minarets, decorative screens, draped silks, sequins and gem-encrusted fabrics.

The colours are almost lickable with their rich turquoise, royal purple and blue, magenta, emerald green and gold – lots of gold.

 Friend Like Me-Michael James Scott, Ainsley Melham with cast. Photo Deen van Meer 

Scott is charismatic and mischievous as the Genie, commanding the show with his rich voice, irresistible energy and ratcheting the entertainment level up several gears with his sassy, sexy, show-stopping number, Friend Like Me that brought the audience to its feet.

Melham has a boyish charm as Aladdin, and his voice has a bright timbre and attractive vibrato as he sings Aladdin’s poignant ballad, Proud Of Your Boy, and leads the chorus in the perky, pacey song, One Jump Ahead.

Elchikhe is pert and spirited as Jasmine and Melham’s voice blends well with her warm and pretty tone in their romantic duet, the Oscar-winning tune, A Whole New World, which is literally elevated to new heights as the couple soars over the stage on a magic carpet that defies explanation.

Adam Murphy is the consummate dastardly villain as Jafar, the evil Grand Vizier who carries a cobra-headed staff and communes with his sly sidekick, Iago, played with comic book deviousness by the diminutive Aljin Abella.

Aladdin’s loyal trio of thieving paupers comprises Adam-Jon Fiorentino as feisty Kassim, Troy Sussman as ever-hungry Babkak and Robert Tripolino as sensitive Omar, and their goofy, comic business and song and dance routines are highlights. George Henare is dignified as the beleaguered Sultan.

Aladdin pulsates with vitality and its simple and familiar story of love and magic overcoming adversity and rigid tradition will win the hearts of audiences of all ages.

By Kate Herbert

 

Casey Nicholaw - Director

Bob Crowley - Set Design

Gregg Barnes - Costume

Nastasha Katz - Lighting

 Cast

Michael James Scott - Genie

Ainsley Melham - Aladdin

Hiba Elchikhe - Jasmine
Adam Murphy Jafar – Grand Vizie

Aljin Abella - Iago  

Adam Jon Florentino- Kassim

Troy Sussman - Babkak

Robert Tripolino-  Omar

George Henare - Sultan

Songs

Act 1

Overture

Arabian Nights

One Jump Ahead

Proud of You Boy

These Palace Walls

Babkak, Omar, Aladdin, Kassim

A Million Miles Away

Diamond in the Rough

Friend Like Me Genie

Act 2

Prince Ali

A Whole New World

High Adventure

Somebody’s Got Your back

Proud of You Boy - Reprise

Prince Ali -Sultan Reprise

Prince Ali  -Jafar Reprise

Finale Ultimo

White Rabbit, Red Rabbit, April 12, 2017 ***1/2

THEATRE 

By Nassim Soleimanpour, presented by Arts Centre Melbourne in association with Aurora Nova

Arts Centre Melbourne, The Pavilion; 12 monthly performances. (Next performance by John Wood on May 6, 2017) 

Reviewer: Kate Herbert on April 12, 2017 

Stars: ***1/2

 Review also published in Herald Sun online on Thurs April 13, 2017 and later in print. 

 Eddie Perfect

Picture this! You are a well-known actor standing on stage in front of 200 people and you are about to perform a solo show – about which you know absolutely nothing! An Actor’s Nightmare, or an exhilarating, theatrical experience?

Looking both eager and vulnerable, Eddie Perfect opens a large, sealed envelope, withdraws a script and embarks on a ‘cold read’ that is a one-hour performance of White Rabbit, Red Rabbit, an idiosyncratic and challenging play by Iranian writer, Nassim Soleimanpour.

Each month, a different actor will perform Soleimanpour’s experimental piece, but Perfect is the first rabbit in the headlights; a frisson of excitement and trepidation ripples across the audience as he reads his instructions – and ours – from the crisp, new script while he narrates Soleimampour’s disarming story.

I’ll not ruin the experience with spoilers, but suffice to say the performance is often funny, sometimes menacing, always engaging and accessible and it involves some obligatory audience participation.

Soleimanpour addresses us through his ‘dear actor’ who relates a tale about white and red rabbits that crosses borders and languages, making audience members confront their own humanity and consider life, death and freedom.

In a state of cheerful naiveté, Perfect leads us on this emotional and intimate journey that challenges us gently to think about how fortunate we are in our safe country.

The play has travelled the world without its writer who is forbidden to leave Iran, but Soleimanpour seems eerily present throughout the show.

White Rabbit, Red Rabbit will be different every month, and the next actor to take up this unknown script written by a distant writer will be John Wood on May 6, 2017.

By Kate Herbert

  Eddie Perfect with audience members