By Karyn Lee Greig
This Edge of the Heart production presents 4 cautionary tales, around the themes of ageing and what counts in the time we have. It is a highly entertaining programme of drama and dark humour, well executed by creatives and cast alike. These plays truly do invite audiences to reflect ‘on who we become when time runs short and choices become’ . . . urgent.
The first play, Until Then, written by Paul Canlan, glimpses a meeting between an estranged father and adult son. Estrangement between parents and adult children is a growing epidemic in our society. Often this can be attributed to ‘bad’ parenting but it can also be attributed to unreasonable or unforgiving adult children who are well schooled in cancel culture. This play is nevertheless a sad indictment of a ‘shit’ but remorseful elderly parent who presumably left his children with little to remember him favourably. Now, too late, he requests time with them. Ian Rooney as Tony, the ageing and ailing father, is very convincing, as is Paul Canlan, playing Rhys, the middle aged son.
Yoga for Seniors, written by Adele Shelley, is a fun look at 3 women in their senior years in a yoga class where, oblivious to the participants around them, have a lively exchange about all aspect of their lives – relationships, aspirations and health. Mazz Ryan as Winnie and Helen Mutkins as Rae, play the antagonistic sisters with gusto. Sara, their friend, played by Donna de Palma, is physically located between them. She is metaphorically the ‘meat in the sandwich’ in this trio, and a fitting foible to the sisters. Throughout, the yoga moves are well choreographed and synchronised with the dialogue, which is interrupted by the ‘calm’ frustration of the off-stage yoga instructor, voiced by Fi Scarlett. The one line that struck me as somewhat glib is when Rae announces that she has Parkinson’s Disease. Winnie’s response is ‘trust me Rae, this condition will not define you’. Maybe this was meant to be funny but did not hit the mark for me, possibly because, from close observation, this condition has a grimly defining effect on all sufferers.
The highlight of the evening was Adele Shelley’s wonderful second offering, Love is a Dish. This piece of writing is a gastronomic tour de force with its clever use of poetic device, in the pun, and the pacy development of the narrative, where as a gifted chef, the devoted female partner at the outset becomes something entirely different by the end. It is a clever, witty and riveting piece of theatre, which also focuses on the disturbing ‘appetites’ of the male partner, so socially relevant, currently and historically. In this way, this play is powerful feminist theatre. The darkly comical characters of Tally and Beaux – names that symbolise their status with each other – are skilfully portrayed by Fi Scarlett and Paul Canlan. I congratulate Adele Shelley, who also co-directed this with Mazz Ryan. I hope this piece gets more exposure.
Finally, we are treated to Paul Canlan’s fine Any Questions? – a compact political satire where an ageing Australian Foreign Secretary, defies his press secretary as she tries to put spin on the inevitable scandal involving he and the much younger woman he loves. Both Carissa McPherson as Kat Henderson, the press secretary, and Ian Rooney as John Longford, the nation’s Foreign Secretary, are outstanding in that they inhabit their characters with panache and ease.
Do not miss this quadruple offering in the suitably small space that is the Motley Bauhaus. The writing, performances and direction – by Adele Shelley, Mazz Ryan and Paul Canlan – will impress, and the subject matter is refreshingly less travelled.
