By Jennifer Beasley.
5 fabulous monologues that will make you make you think. Then think again.
I feel blessed to be a Melbournian. Not only do we have amazing events like the Grand Prix (over 125,000 people on the day I attended) but we have organisations like the Melbourne Writers’ Theatre (MWT), astutely run by Clare Mendes, who is the producer of this production, as well as Lyceum Highway. Sound and lighting design again by John Jenkin and AV by Minty Hunter, which adds depth to the pieces.
Aimed at fostering emerging talent, MWT runs workshops, competitions and awards, as well as Script Labs and play readings. It is a credit to Mendes that such remarkable talent is nurtured and allowed to thrive when often there are too many cutbacks for the Arts. This is unfortunate, as it is often through the Arts that important issues are given voice, as seen in the first offering of the night.
Patchwork, written by Ros Valey and performed by Marc Opitz, addresses anger management. The setting is a jail, and Tommo is asked to give a ten-minute speech on his time in the program and the changes in his life. A clever use of audience participation early on draws the viewers in, and director Jennifer Munday has again done a superb job of eliciting the most from her actors. A great segway into the title, Patchwork, demonstrates the playwright’s abilities, and we see the origin of Tommo’s anger and his own foray into domestic violence. Tinged with regret, Tommo shows insight, and his desire to bright about change is a great character arc. I would have loved to have seen some more anger – particularly during the discussion on his mother’s patchwork, and then a visible restraint as he battles his internal demons, but overall, a fantastic viewpoint on male anger and taking responsibility. A timely play, especially after the Women Against Violence marches last weekend, and the sad fact that there have already been 16 deaths this year.
The Drowning, by Fiona Corke and acted by the amazing Tony Adams is heartfelt, emotional, and draws you in from the first word. An examination of the life of the narrator, now a grandfather speaking to his grandson, we are taken on a fluid journey that follows the flow of his life story as the family home, sited along the meandering river, suffer the enforcement of government acquisition of their property to build a dam. Adams mesmerises as his hand and arms trace the river, a visible and verbal symbol of life, as we grieve with this grandfather the echoing aftereffects of losing their family home. A great use of other characters, Adams voices ‘The Suits’, ‘Father’ and ‘Ma’, an added dimension to the play and a testament to the fabulous workshopping support of MWT (which has allowed rewrites on all of these plays). Really allowed the emotions to swell. Fabulous.
The next play was a delight. Sarah Hamilton, channelling a Lady Macbeth vibe really pulled out all stops as the mad, Juana, Queen of Spain. Written by Barbara Yazbeck, this monologue tells the story of the mad Queen (although many believe that was propaganda by her father so that he could seize power). However, in this telling, Hamilton, dressed in mourning black, creepily instils a sense of insanity. The accompanying noise of imaginary flies, and the low hum of a crowd adds to the tension, and the lighting dropping as Juana scratches at her head was a fantastic ‘show’ of the inner turmoil this woman was under. A fabulous turn when Hamilton switches into character as the Gypsy really upped the ante here. Loved the horror, yet the pathos of the Queen fighting a losing battle to retain her rightful power went hand-in-hand with the sinister, a difficult task to pull off in such a short piece, and an excellent demonstration of internal and external engine architecture of the play, a description of the internal and external motivations that drive the plot. This would be interesting as a longer story, and I feel confident that the writer could pull this off. I knew nothing of this forgotten 15th century Queen, Juana la Loca de Pradilla, and I found the whole delivery fascinating. More please!
Buddy, written by the equally fabulous Michael Olsen and performed by Tony Adams, is also another play operating on several levels. Subtext is very important in playwriting, more so that in film, which operates on slightly different rules. Buddy, we find, is the neighbouring dog. Widower Martin mows the lawn, in honour of the beloved garden that he built up with his wife, Marjorie. Yet running beneath this story of roses and green lawn is the discovery of friendship, love and the introspection to discover a reason to live. Using the dog as a pathway into thinking of life through the eyes of an animal allows this heartwarming piece to sing. Adams acted his heart out here. What an actor, with a performance different from his other role earlier. Beautiful and funny, this will bring a tear to the eye.
We finish up with a cat with attitude. Cissy, a crazed, evil hissing feline, is played with vigour by Melanie Hillman and written with obvious glee by Karyn Lee Greig. This can be taken symbolically, a story where toxic behaviour can prove too much, and the effort needed to remove oneself from that presence. I found the ending really packed a punch, and it’s best to think of this as a metaphor. I also had a cat like this. It’s like some of them are possessed, or as Greig wrote, a ‘crazy Queen of Spite’! Great build up too with heightening stakes. Incredible job Greig, you have a wonderful command of the language and good control of the play. Beautifully acted and written and loved the subtle humour as well.
Don’t miss these bite sized performances. I highly recommend The Castle Hotel for a meal across the road too!
Metropolis Monologues plays at The Stables @ The Meat Market until 18th March 2025.
