Sat­is­fac­tion guar­an­teed

Sat­is­fac­tion is back with a few on and off-screen changes at the 232 brothel, writes Kylie Miller

Herald Sun - Switched On - - Guide -

EVEN in the sun it’s an un­mis­tak­ably win­ter’s day; a chilly breeze blows in from Port Phillip Bay as the tem­per­a­ture creeps slowly to­wards 15 de­grees.

So it is a sur­prise to walk into the balmy con­fines of the cav­ernous Dock­lands stu­dio where 50 or so pro­duc­tion crew work in short sleeves.

For them it will al­ways be sum­mer — or at least for the 13 weeks they are em­ployed on the sec­ond se­ries of Show­time’s drama se­ries Sat­is­fac­tion.

‘‘One of the chal­lenges of shoot­ing this se­ries was that we were shoot­ing in the mid­dle of win­ter,’’ says se­ries cre­ator and co-pro­ducer Roger Simp­son.

‘‘As well as los­ing light early, it was freez­ing cold. The show is about sex so most of the time they have their clothes off!’’

The best avail­able heat­ing, along with a con­stant sup­ply of fluffy robes and po­lar fleece, keeps the ac­tors toasty be­tween scenes.

But there’s no sign of th­ese homely com­forts to­day. A long-limbed ex­tra draped in a silky gown lan­guishes on a quilted leop­ard-print arm­chair.

An­other tot­ters past on sky­scraper high sil­ver stilet­tos, shuck­ing off her robe to re­veal a tiny satin gar­ment that barely cov­ers her mod­esty.

Also back are Diana Glenn (Chloe), Ali­son Whyte (Lauren), Bo­jana No­vakovic (Tippi), Peta Sergeant (Heather), Madeleine West (Mel) play­ing sex work­ers and Kestie Mo­rassi (Natalie) as the madam of brothel 232, with her own se­cret fetish. Sul­li­van Sta­ple­ton plays Chloe’s lover, Josh, and McLeod’s Daugh­ters star Dustin Clare joins the cast as Mel’s brother Sean.

Glenn re­calls she was un­der no il­lu­sions when she au­di­tioned for the role of Chloe.

‘‘The pro­duc­ers didn’t pull any punches,’’ she says.

‘‘They were very clear about the fact that the show would have sex and full-frontal nu­dity and they were clear that if you weren’t comfortable with that, not to bother au­di­tion­ing.’’

Glenn was im­pressed by the qual­ity of scripts and in­trigued enough by the con­cept to stick with Sat­is­fac­tion, even when the sec­ond au­di­tion called for the ac­tors to turn up in their un­der­wear.

‘‘I know my agent was very pro­tec­tive, but I thought I needed to know why it was so im­por­tant that we do this (in un­der­wear),’’ she says.

‘‘I told the pro­duc­ers: ‘If you’re in­ter­ested in hav­ing hot chicks walk around with not much on then I’m not in­ter­ested in do­ing that sort of project’.’’

But the pro­duc­ers gave a clear re­sponse — while nu­dity and sex aren’t the fo­cus of the pro­gram, it was im­pos­si­ble to con­tem­plate do­ing a show about sex work­ers and not show a glimpse of what it means to be a pros­ti­tute.

‘‘I think we are hav­ing a lit­tle more fun in this sea­son,’’ says story pro­ducer Jo Mart­ino.

‘‘With the first se­ries you have got all the pres­sure. All you can do is back your in­stincts and hope you have got it right.’’

The ad­di­tion of Dustin Clare, with guest star Jac­qui Weaver as Mel’s mother, Gil­lian, in­tro­duced new pos­si­bil­i­ties.

‘‘That’s a great dy­namic, that fam­ily group,’’ Simp­son says.

‘‘We learn why Mel is a sex worker and why she em­braces it so whole­heart­edly.’’

Se­ries two opens with tragedy and change— a cliffhanger from the first se­ries is re­solved, the brothel’s own­er­ship is up for grabs and the lives of the women are in dis­ar­ray.

Be­hind the scenes there also has been change, with the drama forced to move lo­ca­tion when construction of the West­gate Free­way ex­ten­sion cost them ac­cess to the Mel­bourne night­club Eve, where se­ries one was filmed.

‘‘Be­cause the look of the show was key to the suc­cess of the first se­ries, we ab­so­lutely wanted to main­tain 232,’’ says co-pro­ducer Andy Walker.

‘‘The brothel it­self was al­most like a sev­enth char­ac­ter in the show so we repli­cated the 232 that we had cre­ated at Eve.’’

The in­te­rior de­sign, with its lush Florence Broad­hurst wall­pa­per and re­pro­duc­tion de­signer fur­ni­ture, re­mains, but the struc­ture has changed.

While ini­tially ex­pen­sive, Walker says the shift proved ad­van­ta­geous, giv­ing them more free­dom.

‘‘Now, for ex­am­ple, Nat has an of­fice,’’ he says.

‘‘There are three bed­rooms, two bath­rooms, a bar, re­cep­tion, of­fice space and pool room. We also have a shower.’’

While the reach of the show was un­til re­cently lim­ited to view­ers with ac­cess to pre­mium pay tele­vi­sion chan­nel Show­case (sea­son one is now avail­able on DVD), ac­tor Ali­son Whyte says she is as well recog­nised for play­ing Lauren as she is for her roles in other se­ries, in­clud­ing Front­line and Good Guys Bad Guys.

‘‘I live in a very small coun­try town and it’s re­ally in­ter­est­ing the num­ber of peo­ple who watch it and are just crazy for it,’’ she says.

Work­ing girls: Diana Glenn says she was im­pressed by the qual­ity of scripts of Sat­is­fac­tion, which re­quired a new set be­tween se­ries.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.