Another week, another show - this time from the !Metro Arts Independents 2011 series. It's always fun to be at the first performance of a premiere play; there are no preconceptions, nothing to prepare you for what is to come. Well, I lie (a little) about this, having chatted last week with Nigel Poulton the director and also co-writer (along with long-time collaborator Tim Dashwood).
Nigel warned me that some audiences may be confused by the play. He went on that it was, among other things, 'about' hanging on to things long past their use-by date - whether those things are psychological or material - obsessions, preconceptions, needs, words, things, and even people. So, as I sat pre-show looking at the dozens and dozens of suitcases on the set of Dead Cargo, I began to start threading together the clues Nigel had given me with what I could see in front of me. I had the suitcases sorted; they were the material expressions - symbols - of the 'invisible baggage' we carry about with us. Right. I was starting to feel a bit more confident - getting my head ready for the kind of play that I’d be seeing. I fancied it would be a bit of psycho-realism with expressive movement.
I knew about the movement - see the aforesaid interview re Meyerhold's Theatrical Bio-Mechanics in Related Articles (below). I knew the script had been written by Messrs Poulton and Dashwood - what to expect in that regard? No idea - this would be a first exposure to their work, at least for me. The set - great by the way - looked messy, deliberately so. Was it meant to stand for the detritus of our lives, maybe? At this point I ran out of clues and started chatting with a friend. What I didn't do was to read the program. As it turned out, I'm glad I didn't because there was a clue in the Director's note which would have sent me on quite another track to the one I pursued during the show and on the drive home. So I'm going to riff a little in this review on how a play - or this particular play - worked on me, about how it sent me down particular tracks in my head. Continue reading Review: Dead Cargo – !Metro Arts Independents 2011
Eugene Gilfedder is lining up for his third Hamlet - the first was as the prince himself in Shakespeare's version some 20 years or so ago, and this time it's in the Australian premiere of Steven Berkoff's The Secret Love Life of Ophelia for Fractal Theatre, opening on Friday. Earlier this year he appeared to acclaim as the Ghost and Uncle Claudius in La Boite's production of the play.
After a long regional, national tour last year with The Kursk, Eugene's now really enjoying what has been a year so far back-to-back with terrific roles. As one of the most respected as well as busiest actor in town, it's almost as though his career has had a resurgence, though, as he tells me, he has notched up over 150 productions on stage over the years. 'It's been extraordinary to last this long,' he tells me, 'and to still be performing.' It all began as a child, when as part of a large family, he found himself organising his siblings and devising performances at home and later at school. 'From Grade 8 on I just took charge! Acting has been my life.' Continue reading Gripped by the actor’s power: Eugene Gilfedder (Interview 10)