Review: The Gift

The Gift
Melbourne Theatre Company
2 June 2011
Sumner Theatre
to 9 July 2011
www.mtc.com.au

We must thank playwrights who show just how hard it is to be wealthy, middle aged and white. It can't be easy, especially when nasty povo commy bloggers create sites like White Whine or Stuff White People Like. How dare they make fun of things they don't understand. It must be really horrible seeing satire on your iPad2. So it's wonderful that the MTC is there to assure their subscribers that it's OK; it really is OK to be better at spending than making money.

The Gift is another poor rich us story. Dammit, they have feelings too!

The design is so similar to last year's production of David Williamson's Let the Sunshine that I had to check that I hadn't been duped into another night with our national treasure. The characters weren't too different either, but the relief of Joanna Murray-Smith's fresh wit took away the fear.

Sadie and Ed are at a very expensive resort for their 25th anniversary gesture. Naturally, there are jokes about firing their personal butler and when will hotels learn that people don't like paying $9 for a box of mini-bar of Pringles. I find it so much easier to stay in cockroach-infested hostels just to avoid this kind of stress. Anyway, they meet Chloe and Martin, a hip young artists couple who won their getaway in a competition. Away from home, sculling posh wine and mojitos (really?) and clearly attracted to each other...

No swinging isn't middle class enough for them. They talk about the value of art (it's good) and take a boat trip.  And yes there's a literal storm to strengthen the metaphorical one. Actually the program blurb tells you everything that happens in Act 1 (why?), so Act 2 is about firing all those early foreshadowed empty wombs.

There's quite a moral dilemma presented, but not explored. In Act 1, the rich couple talk about watching other people and making up stories. The Gift feels like watching without being involved.  The observation is astute – we recognise these people – but don't know them enough to care what choices they make or feel any relevance to our lives (apart from the Pringles).

Richard Piper, Heather Bolton, Matt Dytynski and Elizabeth Debicki are all terrific performers and Murray-Smith's gorgeous wit shines, but I don't care what happens to these people. So if you see a post on White Whine saying, "My free theatre ticket didn't make me care as much as Masterchef does", you'll know who it's from.

This review originally appeared on AussieTheatre.com

Photo by Jeff Busby

The Dictionary of Imaginary Places

MIAF 2009
The Dictionary of Imaginary Places
The Store Room and Melbourne International Arts Festival
16 October 2009
Meat Market

Tonight’s television news showed the CCTV footage of a child’s pram blowing under a Melbourne train, with the baby still inside. The baby wasn’t hurt, but anyone who saw the footage will never let a child out of their grasp at a train station again. Melbourne may be known for its iconic trams, but more of us catch trains.

Director Anna Tregloan and sound designer J David Franze spent over a year sitting on trains recording conversations and the resulting The Dictionary of Imaginary Places uses the direct transcripts of these overheard conversations and turns them into something remarkably surprising, unexpectedly funny and curiously beautiful.

The Dictionary of Imaginary Places has been created through The Store Room Theatre’s Artistic Associate program, which allows artists a three-year tenure to develop work. If is the first result of this process, I’m looking forward to more.

Tregloan is best known for her stunning theatre design (it’s no secret that I think her designs are wonderful), but when she creates her own work, she shows us the core artist that controls her.

Like Black (2007), The Dictionary of Imaginary Places combines performance art with design, but this time she doesn’t deconstruct an existing narrative, but starts with the most disparate mass of words.

The conversations people have on trains are mundane. They are filtered because they can be heard, but unfiltered because people assume that no one is listening. In this dictionary, these stolen words mean nothing or everything. The words are just sounds and glimpses of what could be. They don’t belong to the characters or the space and tell their own stories away from what we are witnessing, and Franze’s sound design ensures that we also hear them in unexpected ways.

Rows of train-like seats fill the tunnel-like cavern of the Meat Market and four passengers (Heather Bolton, Christopher Brown, Rita Kalnejais and James Wardlow) recreate what the overheard conversations could have been like. Well, make that what you could never have imagined them to be like. Unless you close your eyes and imagine a red-gowned women stuffing MX’s in her dress to give her a large arse or a jazz hands dancer in a blue sequined jacket prancing among the old coffee cups.

The Dictionary of Imaginary Places is a view of Melbourne that could be imagined by none other that the creators, but still resonates with us who live on train lines, and even those who can only imagine the joys of public transport.

And Anna continues to put the most glorious of gorgeous shoes on display, but that’s just my obsession.


This review appeared on AussieTheatre.com.