This 150-minute production ran for three nights until 26^th September, at the refurbished Studio 411 on the Murdoch campus on South Street, near car park 4.

       The scene is an interrogation room in an American police station where the female officer, Sarah Stein (Nicola Brescianini) is giving the quaking prisoner, Seth (Scott McArdle) a rough time. During the interrogation, Seth’s ex-wife, Grace (Kaitlyn Barry) appeared declaring that she was God. One of her crucified followers, Herman (Eamonn Skov – great) declared how happy he was to be one of her sacrifices. Then there was Seth’s sister (Shannon Rogers), the mad detective, Gabe (Rhys Hyatt) and Hodge Podge (Rhianna Hall). I may have got various characters mixed up – but who cares? I don’t.

 

The director, Andrew Dawson, has done a fine job of leading this talented team through this multifarious maze of words and situations. Aiden Willoughby’s musical backing was beautiful, but too loud so became invasive, and really quite unnecessary, especially during the interrogation scene. Scott and Sarah Bond’s lighting was clever, selective and with the well positioned lamps, captured the mood well.

I don’t believe that an audience should be spoon fed, but made to ponder on various aspects. Nor should they be required to have to carry out a PhD research to understand the story. The public go to the theatre to be entertained, rarely to admire the writer’s work. If the cast are exceptional, all well and good, but the major reason for their presence is to have a good night of fun, or to have an emotion stimulated. I think that 150 minutes of asking, ‘what the hell is going on?’ and then leaving not much more informed is not what the audience is looking for.

On ‘The Antiques Roadshow’ a woman had a 4-foot model of Buckingham Palace made by her father from 500,000 matchsticks. It took him 5 years to make, and was immaculate in every detail. The antique expert asked ‘Why?’ and said that despite the obvious talent and hard work it would be lucky to get $400 as no one other that the family would want it.

So sorry Scott, you have a matchstick model. A huge amount of work, a brilliant cast (9 out of 10) and technically on the ball (7 out of 10) – but you have to ask – ‘why?’

I lost part of my life, and at my age I need all I can get.

The set was simple, a couple of chairs and a back screen. The filming and background projection (David Cox) showed Cooper Van Vlijmen as young Harvey, swimming in the ocean. Good makeup and hair design from Sophie Braham and Cassee Lazic.

        The scene opens with Harvey (Eamonn Skov), a depressed teenager who has lost interest in the world. He is standing on a beach staring at the tide waxing and waning, recalling how a decade earlier he had almost drowned. Harvey’s mother (Chloé Laffar) misses her husband, Arnold (Ryan Partridge) who disappeared all those years ago. She is distraught at the change in her son, as he mindlessly watches videos and trolling the internet.

       Harvey has a new girlfriend, Emma (Claire Tebbutt), who is determined to drag him back to normality. Then one evening, Harvey is visited by two spirits, one is smiling and in a bright flowery dress (costumes Abbey McCaughan), she is Hope (Katherine O’Brien – excellent) the other is in an army garb, lackadaisical and laconic, Doubt (Hannah Anderson – superb). They talk to Harvey and suggest that he goes back to the same beach that he almost drowned at, because he lost most of his soul there.

       Harvey recalls the love of his life from that terrible time a decade ago, Rebecca (Tarryn McGrath) and sees himself as the much younger man (Sean Mackey).

       Onto the scene appears The Keeper (Bella Doyle, very good), or Suit as she is affectionately know. ‘Suit’ is a stern, manipulative woman determined to ruin anyone that steps in her way, so will Harvey be able to regain what has been lost all of these years?

Anthony KJ has written a fairly simple story, but skilfully blended in some advanced ideas and moods. Sadly, psychological themes are one of the hardest to direct and perform. The cast worked hard, but the tale did not quite click. The pace was about 20% too slow; admittedly, Harvey was depressed, but most of the other characters should have been operating at normal speed.

Because Harvey did not give any affection, or shows little response, does not mean that the others should have been ‘traumatised’ too, by also lacking in normal, affectionate chemistry. The mother and girlfriend should have been physically closer, touching, with cuddles, pecks and kisses.

A couple of suggestions; keep eye contact with the person that you are talking to; often the actors addressed the heavens. Develop a second octave – usually a lower one – as beginners or nervous actors, often go up an octave and stay there for their performances. Work your waist and neck muscles, ‘Hope’ was very good, radiating her feelings, and ‘Doubt’ who was deliberately static, allowed her magnificent expressions to say it all.

This was an advanced play, difficult to perform, but given a wonderfully bold attempt by the writer, directors and cast.