Written and Directed by Eugene Gilfedder
SEASON: Friday 13 to Saturday 28 May
WHEN: Tuesdays to Saturdays at 7.30pm
BACKCHAT: Wednesday 18 May, Artist Q&A after performance
WHERE: Metro Arts, Sue Benner Theatre
TICKETS: Adults $20 Concessions $16
PERFORMERS: Damien Cassidy, Dan Crestani, Michael Futcher, Eugene Gilfedder, Finn Gilfedder-Cooney, Sasha Janowicz, Niki-J Price and Steven Tandy
SOUND DESIGN BY John Rodgers and Ken Eadie
LIGHTING DESIGN BY Geoff Squires
VISUALS/PROJECTION DESIGN BY Freddy Komp
Groups 10+ $12 Cheap Tuesdays $12 door sales only
Preview $12 (Tuesday 10 May)
Further information: http://www.metroarts.com.au
You could infer that the show must truly be something if it’s memorable weeks later in this age of disposable entertainment. You could infer that I have avoided writing this for as long as I could. You could infer a lot of things. Fact is I was asked to write this because I had seen the show and Greenroom was having difficulty finding time to attend La Boite’s latest production of The Chairs by Eugene Ionesco. So what does that mean?
Firstly, it means I hadn’t intended to put my thoughts forward so they have become fractious and disordered in my head in the weeks since I saw the show. Secondly, it means I am looking at the work with the benefit of hindsight and the handicap of its being most of a month ago. There is much to be said for the school of thought that there are two worlds, things as they are and our ideal versions of them. Finally, it means that I have had quite a few discussions with people about their experiences of the work. As such, I have had to try and find my way back to what I saw and how I felt about it.
I’ll try now.
When it was announced that Brian Lucas would be directing Eugene Gilfedder and Jennifer Flowers in Martin Crimp’s translation of Ionesco’s The Chairs my ears pricked up; there is a lot to like about that sentence. Brian Lucas’ work as a performer, choreographer and dancer is sublime and singular: an idiosyncratic and brilliant mind coupled with a masterful sense of physical performance. Eugene Gilfedder has, in recent years enjoyed a thoroughly deserved resurgence in his work, best described as brilliant and idiosyncratic, and intense. Jennifer Flowers has been a presence in Australian Theatre for decades, recently as tour director on The Year of Magical Thinking and notably in her Helpmann Award nominated turn in Doubt. Martin Crimp is a fine writer – his Attempts On Her Life is a truly great play, and Ionesco is responsible for some of the most memorable plays of the Absurdist movement. So from the outset there was a lot of excitement and anticipation.
Actually, it wasn’t just me, everyone I spoke to beforehand was the same. Maybe that’s why I have waited to write this, taking time to remove the play I wanted from the play I got – there is nothing worse than a review that spends its time talking about what should have been done.
So here’s what I saw. Continue reading Review: The Chairs – La Boite Theatre