By Karyn Lee Greig
Edge of the Heart Productions is just what the name denotes. It’s a small company that addresses matters of the heart – matters that many of us face, or at least think about.
I go to my fair share of live theatre. Too often I see theatre pushing the same agenda, particularly regarding socio-political concerns such as feminism and gender. Yes, attention to these areas is long overdue, but balance is needed between pushing the latest on-trend issues and good storytelling that speaks to the heart of the average person. Edge of the Heart Productions Beneath the Surface does just this. Adele Shelley and Paul Canlan, directors of this fledgling company, bring us work that is ‘artist-led’, stands for ‘intimate stories’ and has ‘big feelings’.
This season comprises of four short plays: Coffee in the Time of Coronavirus, written by Adele Shelley and co-directed by both Mazz Ryan and Shelley, is a humorous and touching look at two people, neighbours, who ‘have nothing in common’ except perhaps isolation. Ryan’s direction complements the writing where the simple set – a low fence-like structure – divides their worlds, but for a ‘gift’ that each character furtively passes over the fence, to the other. Will this fence make, in poet Robert Frost’s words, ‘good neighbours’? Carissa McPherson is first class as the crisply corporate Adriana, in contrast to the bohemian guitar-playing Felix, equally well played by Paul Canlan.
In the following play, Mine, actors Mazz Ryan and Donna de Palma bring the biting resentment that can exist between siblings when treated differently by parents. They are a great match as they verbally knife each other. At the same time, these sisters struggle internally, trying to think better of each other, and do better regarding their own behaviour. Mazz Ryan’s script artfully rises and falls through feelings of resentment and resignation. Donna de Palma, in green, is razor sharp and Ryan is the true triple threat, also co-directing this piece with Adele Shelley.
An Internal Matter, written by Carissa McPherson and directed by Adele Shelley, looks at how allegations of sexual harassment ‘threaten a company’s carefully polished image’. Small screens are used effectively – here and elsewhere – to show how polished the company is on television. It is very good to see actor Helen Mutkins, who is totally believable as Claire, the CEO, back on the stage after so many years. Fi Scarlett provides strong support as Maya, the CEO’s colleague, as do Ian Rooney as the Chair, and Paul Canlan as the rather tone-deaf accused. There were some minor delays in the scene changes, disrupting the flow of the piece however and the scene with the lawyer on Zoom seemed to be rather lengthy. This piece may benefit from development to a full length play, so we get a fuller picture of the characters.
Adele Shelley’s The Trading Place is the final offering of the evening and rightly so. How often are we given the choice to rewrite our past or ‘uncover the hidden richness of a life already lived’? In this case Sue, delightfully played by Carissa McPherson, wants to wind back 25 years – and this produces many funny moments. Sue seeks the wisdom and skills of the earthy but eccentrically witchy ‘Trader’, hilariously played by Nadia Andary. The set in this tiny theatre space is beautifully transformed to an enchanting ‘garden’, reflected in Sue’s bright botanical dress. This sets the tone for a whacky, funny experience.
Adele Shelley’s skills as a playwright shine in this evening of plays, as they did in the last season. She has that knack of writing economically, with great wit and poignancy, through the mouths of unforgettable characters, speaking to the hearts of all of us.
Congratulations to the entire team of Edge of the Heart Productions and we look forward to more!
