REVIEW: La Dispute
June 7th 2000 06:39
SYDNEY THEATRE COMPANY
present
La Dispute
by Pierre Marivaux
in a translation by
Timberlake Wertenbaker
DIRECTOR Benedict Andrews
CAST Rose Byrne, David Field, Rhondda Findleton, Nathan Page, Olivero Papi,
Noel Tovey, Justine Saunders, Leeanna Walsman, Sebastian Elmalogiou,
Sebastian Lamour, Basia A'hern, Millie Spencer-Brown.
This production opened at Wharf 2 on 5 May 2000.
Lighting design and set of LA DISPUTE are the most striking I have seen at Sydney Theatre Company so far in Y2K, reflective use of water and light creating living textures discovered behind bold red velvet curtains. Four of the actors in the cast make their debut with the company in this play, three of them are children who take turns at performing as is the regulation. It's good to see focused and eloquent youngsters working with grown up actors on the professional stage. The play is not one I found very moving ultimately although some of the performances were stunning.
A Prince (David Field) has inherited an experiment created by his dead father. To determine which gender was responsible for (the) original sin this dead King has isolated a core of male and female human beings. Grown in isolation, nurtured, and presumedly educated by two 'black' servitors, Carise (Justine Saunders) and Mesrou (Noel Tovey) the human specimens want for nothing, of course they are not informed of their status as laboratory
rats; nor are they informed of the existence of anyone else besides their black protectors in the whole wide 'world' they inhabit.
The human specimens are allowed to meet each other for the first time on this evening when the Prince brings a coquettishly glittering woman Hermiane (Rhonnda Findleton) to watch from a hidden gallery with him for the experiments conclusion.
The choice of Justine Saunders and Noel Tovey as the two 'blacks' introduces some interesting levels to the production since these are two of Australia's most accomplished Aboriginal performers. Saunders played the servant Carise with a perfect neutral tone and whether in loving or assertive mode managed to remain distant. It was fascinating to pick up a sense of imperviousness from both actors that was as reflective as the water running through the 'creek' on stage. They were much the same as soldiers running a concentration camp as they were scientists shifting the rats from cage to cage. For small roles the impression was perfect.
The human specimens then, Egle (Leeanna Walshman), Azor (Olviero Papi), Adine (Rose Byrne) and Mesrin (Nathan Page) are given free physical reign of the space. My difficulty with the script comes to a peak with these characters. They are not used by the playwright in a way I found ultimately enlightening, still, however frothy the actual play, the players brought an intensity to their parts that made the experience of theatre great. The play, I don't think is so great but I see value in acknowledgment of its historic countenance. As grand as the conceit is, it never struck me as being particularly deep.
The production is a combination of some of modern theatre's best visceral components and the performances are ably virtuoso for this reason it ought not be missed.
REVIEW by David Jobling
present
La Dispute
by Pierre Marivaux
in a translation by
Timberlake Wertenbaker
DIRECTOR Benedict Andrews
CAST Rose Byrne, David Field, Rhondda Findleton, Nathan Page, Olivero Papi,
Noel Tovey, Justine Saunders, Leeanna Walsman, Sebastian Elmalogiou,
Sebastian Lamour, Basia A'hern, Millie Spencer-Brown.
This production opened at Wharf 2 on 5 May 2000.
Lighting design and set of LA DISPUTE are the most striking I have seen at Sydney Theatre Company so far in Y2K, reflective use of water and light creating living textures discovered behind bold red velvet curtains. Four of the actors in the cast make their debut with the company in this play, three of them are children who take turns at performing as is the regulation. It's good to see focused and eloquent youngsters working with grown up actors on the professional stage. The play is not one I found very moving ultimately although some of the performances were stunning.
A Prince (David Field) has inherited an experiment created by his dead father. To determine which gender was responsible for (the) original sin this dead King has isolated a core of male and female human beings. Grown in isolation, nurtured, and presumedly educated by two 'black' servitors, Carise (Justine Saunders) and Mesrou (Noel Tovey) the human specimens want for nothing, of course they are not informed of their status as laboratory
rats; nor are they informed of the existence of anyone else besides their black protectors in the whole wide 'world' they inhabit.
The human specimens are allowed to meet each other for the first time on this evening when the Prince brings a coquettishly glittering woman Hermiane (Rhonnda Findleton) to watch from a hidden gallery with him for the experiments conclusion.
The choice of Justine Saunders and Noel Tovey as the two 'blacks' introduces some interesting levels to the production since these are two of Australia's most accomplished Aboriginal performers. Saunders played the servant Carise with a perfect neutral tone and whether in loving or assertive mode managed to remain distant. It was fascinating to pick up a sense of imperviousness from both actors that was as reflective as the water running through the 'creek' on stage. They were much the same as soldiers running a concentration camp as they were scientists shifting the rats from cage to cage. For small roles the impression was perfect.
The human specimens then, Egle (Leeanna Walshman), Azor (Olviero Papi), Adine (Rose Byrne) and Mesrin (Nathan Page) are given free physical reign of the space. My difficulty with the script comes to a peak with these characters. They are not used by the playwright in a way I found ultimately enlightening, still, however frothy the actual play, the players brought an intensity to their parts that made the experience of theatre great. The play, I don't think is so great but I see value in acknowledgment of its historic countenance. As grand as the conceit is, it never struck me as being particularly deep.
The production is a combination of some of modern theatre's best visceral components and the performances are ably virtuoso for this reason it ought not be missed.
REVIEW by David Jobling
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