Performers on stage, gathered around a table. Some sit at the table, some sit on the table, one stands on the table.
News, Performing arts, Reviews, Theatre

The future is in safe hands

Review: WAAPA 3rd year acting, When the Rain Stops Falling ·
The Roundhouse Theatre, 4 May ·
Review by Steven Cohen ·

When the Rain Stops Falling is a strangely beautiful Australian play; original and intriguingly complex. The sheer genius of the playwright, Andrew Bovell, is striking.

Andrew Bovell is a wizard of Oz. He forgoes the politics of David Williamson, the cultural lashings of Ray Lawler and the suburban psychology of Patrick White. Rather, he sets out to shunt upon us a gut-wrenching story that tackles intergenerational trauma, father-son relationships and – curiously, given the play’s focus on the personal and familial – the devastating effect of environmental damage.

The plot is a plate of spaghetti. There is no typical rise and fall. Instead, each scene focuses upon both the ordinary and grotesque. Some scenes are intense, but the theatrical style serves the theme well: that history is not necessarily linear but tangential. And vital.

The action shifts between Alice Springs, Uluru, Adelaide and London, fluctuating backwards and forwards in time. There is little connection between scenes, zero linearity and only the subtlest of links. We are made to feel “curiouser and curiouser” through jagged moments of peculiar dis-quiet. But, this is no Wonderland. Rather, it is a juxtaposition between hinterland and wasteland, where future is devoured by the sins of the past and the only way out is through the sheer power of love, strength and hope.

Performers on stage, crouched under umbrellas
Equally impressive: the student cast of ‘When the Rain Stops Falling’. Photo: Jon Green.

The crucial scenes occur in London 20 years apart. First, we are introduced to Gabriel Law, who confronts his malcontent and dispirited mother. We learn that Gabriel’s father absconded to Australia, when Gabriel was a small child. Later, the action shifts, in the most distressing of scenes, to that pivotal moment when Gabriel’s father leaves. Ignorant of the past, Gabriel decides to retrace his father’s footsteps to the Australian centre. And there we see how the ghosts of our past crash the future.

WAAPA’s production stays true to the intensity of the narrative. Using Edith Cowan University’s Roundhouse Theatre, visiting artist and director Peggy Shannon successfully creates an intimate and visual portrayal of time and its linear shifts.

Set designer Danielle Chilton has cleverly incorporated cascading water into the stage, framing weather as a key motif. Period clothing from each of the last several decades is used to fiendishly wrap each character in a generation of servitude to their ancestors.

On opening night all nine actors were equally impressive. Characterisation was on point, as was accent, position and interpretation. Indeed, it was a shame that not all actors shared equal stage time.

Everyone should see this production. Not just for the melancholy yet uplifting story, but to rest their minds that the future of theatre is in exceptional hands.

5 stars.

When the Rain Stops Falling plays until May 9. 

Photo: Jon Green

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Women dressed in red robes.
News, Performing arts, Reviews, Theatre

A fever of skill and passion

Review: WAAPA Aboriginal Performance Students: Fever ·
Enright Theatre, WAAPA, 16 November ·
Review by David Zampatti ·

Fever is a wonderful piece of work, and a credit to everyone who created and staged it.

It’s not a new work; the collaboration, under the auspices of the Melbourne Workers Theatre, of Andrew Bovell (Secret River, Lantana, Strictly Ballroom), Christos Tsiolkas (The Slap), the prolific Patricia Cornelius and Melissa Reeves dates from 2002.

Neither is this the first time this quartet of playwrights’ work has been performed by WAAPA’s Aboriginal Performance students; their Who’s Afraid of the Working Class was a given a barnstorming staging in 2011.

What is new is this production’s complete lack of specific Aboriginality; the students, and their director Rachael Maza, ask us to come to their work on its own merits, with no concessions or schema.

A man and a woman. He has her hand on her shoulder as though comforting her.
Photo: Jon Green

What is exciting is how terrifically they succeed, and how, in so doing, they bring a major and intensely relevant Australian work to a new audience.

Fever comprises four short plays by each of the writers, woven together to form an exploration of the world’s woes; dislocation, degradation and deep fearfulness.

Making such a dramatic arrangement cogent, let alone satisfying, is a tough call – even more so when the styles of the pieces range from gritty realism to the wildly surrealistic, from black comedy to intense drama.

In Bovell’s The Chair, a woman (Cezara Critti-Schnaars) has a soldier (Samai King) bound and helpless. In Melissa Reeves Savant, people from an outback town find the freezer in the truckful of fish they had brought in has malfunctioned. In Cornelius’s Blunt, a group of barren women in a blasted future landscape hear a baby crying in the dark. In the most developed and horrifying of the pieces, Tsiolkas’s Psalms, a brother and sister find themselves on opposite sides of a vicious civil war.

Rivers flow through these stories, but they are foetid or perilous; infants are drowned – or stab their mothers; mercy is not strained, it has ceased to exist.

Only the old enmities survive, perfectly adapted with their guns and their old bibles to a dry strange, cannibalistic world; the old blood spilled again and again.

We are reminded of this in a horrifying reading of Psalm 137, the Rivers of Babylon, by the commander of a death squad (Owen Hasluck): “O daughter of Babylon, happy shall he be that taketh and dasheth thy little ones against the stones.”

It’s a credit to the writers that they pull it off all on the page; even more so to the director Rachael Maza (at WAAPA courtesy of the Mindaroo Foundation’s Visiting Artists programme) and her student cast, who work between the story lines and styles with great skill and, more importantly, undiminished passion.

A woman on an old-fashioned steel framed bed. A man seems to be creeping towards her in the dark,
Photo: Jon Green

Highlights abound. The chorus of women on the riverbank – Cezara Critti-Schnaars, Ruby Williams, Kirra Ostler (outstanding here and as the mother in Savant), Angelica Lockyer, Shania Richards and the “wo-man” Tainga Savage – are hideous, though sometimes hilarious, in their robes of rags. Savage’s monstrous, matricidal baby toddles toward the next-door neighbours to deliver a (very 2002) diatribe – part Thomas Pikkety, part Pauline Hanson. Throughout, the woman and the bound soldier dance slowly on the edge of mercy and vengeance; she takes up a knife, but will she cut the ropes, or his neck? It’s the story of Abraham and Isaac.

When it’s over, whichever way it ends, the woman sits in Aphra Higham’s striking, aposite set of blood-red netting and the skins of foxes; harbinger, victim, humanity, a demon or a God.

When it all comes down to dust, I will kill you if I must, I will help you if I can.
When it all comes down to dust, I will help you if I must, I will kill you if I can.

– Leonard Cohen’s “The Story of Isaac”.

Fever plays the Enright Theatre at WAAPA until November 22.

Photos: Jon Green.

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