Review: True Minds

True Minds
Melbourne Theatre Company
29 April 2013
The Sumner
to 8 June
mtc.com.au

I'll always see a new Joanna Murray-Smith play. She's one of Melbourne's most commercially successful playwrights and she writes terrific jokes about being middle class in Melbourne. Her latest, True Minds at the MTC,  is the theatrical equivalent of a black-and-white romcom that you're happy to watch every time it's repeated on the ABC because it's an easy giggle with some terrific performances.

Daisy (Nikki Shiels) lives in her enviable converted warehouse with a collection of giraffe knick-knacks. She's written a commercially successful book about how men need their mum's approval before they choose the girl of their dreams. It's a bit of a surprise, as neither of her leftie parents – mum (Genevieve Morris) is into beyond-alternative medicine and young men, dad (Alex Menglet) is a drunken academic and philanderer – are into marriage and her last beau (Adam Murphy) is in rehab. But love is strange and Daisy's fallen for the most conservative hunk in town (Matthew McFarlane) and is preparing to meet is his mummy (Louise Silversen), who would call Julie Bishop a raving liberal Liberal. As Dasiy gets the dips ready, there's a storm brewing outside and everyone ends up in her open plan living room.

For all the big laughs and performers who bring extra so much extra to their characters (it's worth seeing for the three women), there's not a second's doubt as to what's going to happen or an opportunity to wish for something different. Couldn't we even like the hunky fiance for a bit and understand why Daisy wants to marry him? The jokes are easy and obvious, the politics are duller than QandA, and the characters are so full of cliches that they become unrecognisable as real people. This leaves the audience safely distanced because there's little chance of really seeing theselves on the stage.

Peter Houghton had written/directed/performed some of our funniest theatre. He builds a manic world where the background action says as much as the script, but he seems to be pushing for True Minds to be farce. It's not extreme enough to be farce and the characters are too likeable to push them to farcical extremes. At the same time, there's not enough guts in the script for it to be social satire: conservative ladies in peach don't like gay marriage while young liberal lefties are all for it, some people are happy not to get married, and it's all about love at the end of the day. Really? There's so much more to explore. (And out of rehab and happily pouring booze all night without any of your loved ones keeping an eye on you?)

It's a funny and enjoyable show, but it's so safe that it's inoffensive and forgettable.

Photo by Jeff Busby.

This was on AussieTheatre.com.

Review: The Joy of Text

The Joy of Text
MTC
15 June 2011
Fairfax Studio, the Arts Centre
to 23 July
www.mtc.com.au

As if I'm not going to love a work that opens with someone looking for their Fowler's*, literally reminds us that satire is meant to be funny and references the Electra story, the Demidenko debacle and the disturbing semiotics of Prince Caspian. The text of Robert Reid's The Joy of Text is indeed a joy and I loved it all the more for its over-educated, middle-class (sorry Rob) literary references and its grammar pedantness.

It's also a disturbing reflection on the contextualisation of sexual consent. In a society where grown and wealthy men are deemed powerless against teenage girls and our informed media would rather a story about a vindictive slut than a clear explanation of statutory rape, the sexual consent of children (who are not small adults) is still something we need to discuss. And Reid may be the only person who could have me laughing about it.

Danny (James Bell) is a too-smart-for-his-own-good student who is willing to confront his teachers (Louise Siversen and Peter Houghton), especially when he's asked to read a controversial book that he suspects is written by Ami (Helen Christinson), the cute young literature teacher who has indicated that she appreciates his brain.

Aidan Fennessy is one of the best comedy directors in our town, but focusing on the easy giggles in Joy takes away from its strength.  It is a piece founded on humour, but the grammar wit, Helen Garner references and delightfully perfect sentences are the grace notes and the breathing space to the dark and confronting humour that drives it. By embracing the blackness of the humour, Siversen's performance is the highlight of the evening and comes closest to the dangerous tone that defines all of Reid's work.

Reid is asking us to laugh at the possible rape of two school children. This is an issue of distorted power and status, but the status and power relationships are missing on the stage.  Students and teachers don't interact like mates, neither do principals and their staff.  So, even though it's fun to watch Houghton's very funny buffounish principal, it undermines the intent of the work by creating a comfortable buffer between us and the content.  By playing the easy laughs, we're never concerned for Danny's or Ami's well being, because the damage and the stakes are minimised.

No matter what, it's wonderful to see the work of a local independent playwright on a mainstream stage. The co-founder of theatre in decay has written more plays than many people have seen.  I first saw Rob perform one of his works many years ago in an outside courtyard in Canberra. A handful of people shared the experience and all knew that this was someone whose theatre demands attention.

The Joy of Text is just as angry as his decay work, but it's less personal, less ranty, far funnier and his characters are less damaged. This personal distance is vital to create work that broad commercial audiences are going to love, but I'd love to see his next work be a bit more dangerous and to come a bit more from the heart.

* dictionary of Modern English Usage

This review originally appeared on AussieTheatre.com

Rob or Lally?

And even more SM favourites are opening this week.

thearte in decay's Robert Reid has assured SM that he hasn't written a "it's so hard being wealthy and middle classes" play for his main stage MTC debut. (However, I'd love to see the reaction of his friends if he did...)

With Aidan Fennessy directing, and Peter Houghton and Louise Siversen in the cast, The Joy of Text promises to balance out the blandness of any other MTC shows.




And, down the road, Malthouse are opening Lally Katz's new work, A Golem Story, on the same night.

Our two funded companies are opening new works by popular and loved independent Melbourne writers on the SAME NIGHT!

I know I'm not the only person who wants to be at both and support both amazing writers.