Bound For Success: Review of STC’s Travelling North

Travelling North (1979) may be touted as an oddity in David Williamson’s oeuvre for its lack of satirical edge; however, those familiar with his work will still recognize the same style when it comes to scene construction, establishing characters and revealing their inner-lives. At times Williamson isn’t always the most subtle writer, and as a result he probably has as many admirers as detractors. Having said that there is nothing overrated about the Sydney Theatre Company’s latest production of Travelling North, currently being staged at the Wharf Theatre.

The play, set between 1969 and 1972, tells the simple story of Frank and Frances, a couple who have found each other late in life, fallen in love and now seek to enjoy the freedom that comes with retirement by travelling north. Frances’ daughters, Helen and Sophie are less than impressed with their mother’s plans and see Frank as an aging user who just wants a carer to look after him in his declining years. In the play’s beginning Frank appears the very picture of vitality, however, as the story progresses he develops angina. From there, the plot tracks his deteriorating health. At any rate, Frank is just as frustrated by the two daughters. He sees Helen and Sophie as wanting to use Frances as their emotional crutch when the two go through marital and child-rearing issues. Between the two positions, focus lies not only on Frances’ struggle to be with, and help the people she loves, but also on the idea of commitment; particularly when commitment means sacrifice.

Perhaps ironically, just as the north represents freedom, Frances is unable to reach either – the couple land just short of the Queensland boarder at Tweed Heads and never progress any further due to Frank’s failing health. Freedom in the north cannot be reached, and we come to see that Frances is completely smothered by her commitments to both Frank and her daughters. These burdens cause her great strain, but she continues to bear them in spite of it all: such is the strength of her love. Yet commitment rears its head in other ways throughout the play, whether it is a question of commitment to marriage, one’s political beliefs, occupation or children. Many of the characters abandon one commitment or another throughout the course of the play, and they, and the people around them, suffer the consequences. Frances though, stays strong until the end. We come to admire her for her strength and she is rewarded for it, in more ways than one.

Bryan Brown as Frank and Alison Whyte as Frances

Frank is an active senior citizen, though this is largely out of defiance. He is sensitive about his age, and is determined to defy the books. Bryan Brown was simply marvellous. He exuded an easy charisma as this cranky ex-communist, being both confident and lively whilst possessing the curmudgeon sass of a retired goat. When Frank’s condition continues to deteriorate, Brown played the arc for its comedy but also for its humanity. The increasing cantankerousness is littered with moments of enlightenment, which only an experienced actor such as Brown could pull off without being obvious.

As Helen, Frances’ Melbourne based daughter, Harriet Dyer fell head first into a sea of coarseness, and she was wonderful for it. With her big blonde hair, fetching platforms and abrasive edge, Dyer is an actress of versatility. She demanded of her audience a pace of her own choosing, so that when Helen’s inner turmoil surfaced, it was easy to see how being ‘uncouth’ is actually a defence mechanism.

Alison Whyte as Frances was an absolute trooper, having only been rehearsing the role for five days when the show was viewed. Whilst she was still script in hand for the majority of Act Two, Whyte did a deft job as this most compassionate lover and mother. It is written with confidence that Whyte will seriously impress as the run continues.

Andrew Tighe as Freddie, the obnoxious neighbour with a heart of gold, was a hoot from start to finish. The man wore his shorts well. More importantly however, Tighe captured the stereotype of the well-meaning but slightly misplaced Australian mateship envisaged by Williamson without making the character laughable in the wrong way.

Andrew Upton has offered a sound rendition of this piece. The choice to have Frances on stage throughout the entirety of the play, as a silent observer when not part of the scene, is a nice choice and undoubtedly representative of how attached she is to these people. The set is elegant in its simplicity, and one feels that with a play such as this, with scenes transitioning quickly between space and time, that David Fleischer’s multi-level timber deck design is exactly what is needed to fit the bill.

This is yet another solid production from the Sydney Theatre Company. It is an absolute treat to watch Bryan Brown on stage, and once Alison has her lines down it will be an amazing show. Give her another week. Travelling North is playing at the Wharf theatre until the 22^nd of March. For more information see:

http://www.sydneytheatre.com.au/whats-on/productions/2014/travelling-north.aspx

 

Shaw Assures Success: STC’s Production of Mrs Warren’s Profession

In 1893 Mrs Warren’s Profession was unable to attain a license for performance and was to remain unperformed for the next twenty years. So scandalous was its subject matter. By today’s standards it is pretty tame, and you almost wish they’d just say the word ‘prostitute’. Nevertheless, Sydney Theatre Company’s production of the Shavian classic still has impact.

Kitty Warren is a woman with an infamous past and a daughter, Vivian, whose linage is sketchy to say the least. Kitty keeps her ignorant however, with an expensive education and a comfortable lifestyle – although the pair a virtual strangers to each other. Upon their reunion it isn’t long before the truth comes out, sparking conflict as they differ over the other’s lifestyle choice. As such, the relationship and indeed their identities are called into question.

Helen Thomson as Mrs Warren

The crux of the play lies here. In her note, director Sarah Giles states that the play is essentially about the feminist question (obviously). For a Victorian audience this may have been true, but for today’s audience, the play is about something a little different. By and large it comes down to a question of duty and principle. Mother and daughter respectively sacrifice one for the other – it is a question of how far one is willing to tip the scale. Ultimately, Vivian and Kitty are both right and wrong in their conclusions, and the genius of Shaw allows you to see the world from both perspectives. It is a tossup as to whose side you’ll come down on. Audiences will undoubtedly disagree as to whose, but that’s what makes it so true to life. Perhaps Giles needed to unpack the text a little more to get to this universal reading rather than falling back on the safety of feminism. Having said that, the young director made a deft job of bringing the cast together as an ensemble.

Lizzie Schebesta as Vivian Warren and Helen Thomson as Mrs Warren

To begin with, Helen Thomson is a very powerful performer. She commanded the stage and committed every inch to the role of Mrs Warren. There is little to criticise except for the decision to drop the ‘posh’ accent when in scenes alone with Vivian. By consciously reverting to the character’s original cockney roots for lengthy periods, she loses the credibility that is otherwise afforded by her performance. Yet director Giles should be criticised here too, as it is just as much a directorial failing (though it is called for in the script, some discretion as to the extent of its use should have been exercised). During these scenes Thomson also drops her middle class mannerisms, (wrongly) to enhance the ‘from nothing’ aspect of her character – it is only slightly more forgivable. For all this however, Thomson delivers the cheeky, sly, calculating mother well, and is especially powerful in her final speech.

Lizzie Schebesta as Vivian Warren and Martin Jacobs as Sir George Crofts

Lizzie Schebesta (Vivian Warren) looked every bit the Austin heroine. Overall, Schebesta made a good fist of the role. Yet the character required a sharper energy, rather than one that was simply ‘oppositional’. The young Miss Warren was also physically restrictive, doing little more than pacing when flustered or emotional. For the two faults mentioned, she just fell short of making us believe that she unreservedly rejected love.

Simon Burke played Praed – the attractive middle-aged friend of Mrs Warren. In this role, Burke was cute and light. He fluttered around the stage and played the audience well, almost too well in sections, though he mostly got away with it. Burke is obviously experienced with ensemble work. He sat well within the frame of his character and produced a lovely performance.

Simon Burke as Praed

Martin Jacobs was superb as Sir George Croft; he is a very impressive performer. Beautiful stage skill (always audible) and impeccable presence – he makes it look seamless. Like Burke, probably more so, his experience allows for a remarkably controlled performance. Beautifully observed, Jacobs understands that people only really ‘get angry’ about personal convictions – as such he delivers the cope de grace perfectly – as measured and controlled as the rest of his performance.

The young Frank Gardner was played by Eamon Farren, and he packs a real punch. Farren has a wonderful energy which should have been matched by his co-star, though perhaps it was more a question of conviction – for he had this as well. Also to Farren’s credit was his freedom of movement – he allowed himself to physically explore the character, making for some very creative stage craft.

Eamon Farren as Frank Gardner and
Drew Forsythe as Samuel Gardner

Drew Forsythe was highly competent in the role of Samuel Gardner – in suffering the disadvantage of an obvious plot device; he was a joy to watch and worked with what he had – though occasionally forgoing the truth of the character in order to achieve a gimmick. Luckily it worked.

Giles has offered the Sydney theatre scene yet another minimalist production. Granted, it does work, but one hopes there is something different coming in the pipeline for audiences. Having said that, the music composed by Max Lyandvert perfectly suited the play and the backdrop of silk roses (a nod to Victorian excess and sentimentality without miring the action) were visually stunning and seemed to shift and alter in appearance with the assistance of Nigel Levings’ lighting design. Costumes were period but striped of ostentation.

Set Design

In the end this is a very fine production, but in all probability, it was always going to be. Is the STC capable of something with more punch or edge? We’d like to think so and we’d like to see them try. Shaw and Giles do however deliver the goods on what is to be congratulated as a solid production.

Mrs Warren’s Profession runs from 19 February – 6 April, with an extended season from 4 July – 20 July. For more information:
http://www.sydneytheatre.com.au/what’s-on/productions/2013/mrs-warrens-profession.aspx