By Natalie Ristovski
“The world is far too dangerous for women. Assault and domestic violence numbers are at an all-time high, red pill incels lurk in every corner of the internet and skincare for 5-year-olds has never been more popular.”- A Figure in the Yellow Wallpaper (Melbourne Fringe Program Guide)
Regarded as one of the earlier important works of feminist literature, The Yellow Wallpaper by Charlotte Perkins Gilman (1892) is a first person narrated short story in the form of a series of journal entries, outlining the time spent by a woman confined to a nursery by her husband (a physician) who is “concerned” about her “slight hysterical tendency” following the birth of their child. Locked away with nothing to stimulate her brain or treat her very obvious postnatal depression, the woman quickly becomes fixated on the faded yellow wallpaper within her prison, its intricate gaudy patterns becoming a metaphor for her slow descent into madness. The story has been adapted and re-adapted over the years via audio dramas, stage plays and films, its key themes and gothic elements making it a popular one with feminists and horror aficionados alike.
Its latest iteration, A Figure in the Yellow Wallpaper presented by Eleanor Golding for Theatreworks, traverses familiar territory through a modern lens with varying results.
A two- and a-bit hander, the show centres on couple Cora and Evan who, after experiencing a tragic event in their suburban cul-de-sac, find their relationship on the rocks. Cora, now agoraphobic, has become increasingly a shut-in, obsessed with the daily news and doom scrolling, and Evan’s attempts at connecting with her fall continuously flat. He decides that a few weeks away at a beach-side apartment is the answer to their woes…except for the part where Cora has to go alone (someone has to work, apparently) and Evan confiscates her laptop and blocks her phone from being able to access any socials while she is there. What follows is exactly what you would expect- a descent into severe mental health trauma with a few surprise twists thrown in.
If there’s one thing that Theatreworks and its collection of regular collaborators do infinitely well, it’s the setting of an atmosphere. Soundscapes are always on point- and their penchant for creating an immersive stage from the get-go is one of my favourite things about attending their shows. This latest offering is no exception, the suspenseful and dynamic soundtrack presented upon entering, paired with moody lighting and aptly selected set pieces, makes for a beautiful pre-performance scene.
The performers tasked with bringing the doomed couple to life are unfortunately unevenly matched. Cora’s melodramatic over-the-top portrayal of severe mental health issues makes the character seem insincere and shallow in comparison to the more subtle and believable Evan. One instantly empathises with his situation, merely because the feelings he presents seem more nuanced and real. This may be an intentional directorial choice (there has been much discourse about the pressure on women to remain likable even in the face of tragedy and abuse), but it does the main protagonist no favours here and serves only to deaden emotion for her plight. This is no mean feat, considering the choice to portray Evan as the most obvious looking basement-dwelling DnD-playing incel man-baby from the get-go. That I am drawn to favour an archetype that usually makes my stomach churn on sight is almost impressive, and yet here we are.
The portrayals seemed to balance out as the show goes on, which leads me to subscribe some of the initial clunkiness to opening night nerves or a discomfort with the material, but there is no doubt which performer was the stronger actor that evening, and it is a shame considering the theme and focus of the piece.
The writing fluctuates between especially clever and infuriatingly unrealistic depending on what is happening- there are some lovely little nods to the source material and more recent feminist fare (Don’t Worry Darling, Stepford Wives), interspersed with some great jump scares utilising sound and lighting to stick the proverbial knife in. Less successful is an unnecessary segment with a mouldy pizza, and the suspension of disbelief foisted upon an audience who knows a little too well how long it actually takes for a mobile phone to run out of battery power. Narratively, the show does well in setting up a premise, but rushes through the necessary subtlety required to get from Point A to point VERY UNWELL a little too quickly.
The show’s staging is mostly exemplary, entrances and exits are well utilised, lighting and sound are perfect- various projected imagery lands well (when you can see it, actors have an infuriating habit of standing right in front of what we are supposed to be looking at a lot of the time). My only gripe is that the famed yellow wallpaper is a bit…underwhelming, and there is a missed opportunity to project some amazing static patterns that slowly begin to move as Cora’s madness descends onto it. Perhaps in the rework?
As seems to be the case with many recent Fringe shows, A Figure in the Wallpaper suffers from having too much to say and not enough time or cohesion to say it. Commentary on feminism, incel culture, abortion, mental health etc are all equally relevant and important, but a mishmash of them all in one performance leaves too many topics underexplored. Threads are lost, narratives become convoluted, and opportunities for greater focus on themes such as isolation (both social and emotional for both characters) are missed in favour of political talking points that say nothing new and offer no real resolution beyond revenge porn.
Despite this, there is a lot in this show that is promising. I’ve observed Eleanor Golding in quite a few theatrical iterations over the past year (both on the stage and as part of a creative ensemble) and I appreciate her dedication to bringing darker and more visceral performances to audiences, often in very clever and creative ways. This one may not have completely hit the mark for me, but I believe that in time and with more experience, these initial learning block stumbles will smooth themselves out…and it is then that Ms Golding will really start flexing her artistic muscles. I look forward to the 5-star review that awaits her when that time comes.
