Comedy samples ‘la dolce vita’ in Italy

Review

Four Flat Whites in Italy by Roger Hall, Direction Aaron Mcleod, Feilding Little Theatre, August 31 – September 19. Reviewed by Fancy an entertaining armchair taste of ‘‘la dolce vita’’ (the sweet life), well Four Flat Whites in

is not a bad place to begin. It’s hard to believe Roger Hall’s classic comedy for wanderlust-infected Kiwis is now a period piece.

Set in the latter years of the Helen Clark Labour Government during the ill-fated Rugby World Cup year of 2007, two mismatched couples take off on a quick tour of Italy.

Bookish Adrian and his wife Alison, who is also a librarian, were all set for the holiday of a lifetime with long-time friends Tim and Erica.

Then Tim breaks an ankle. As Adrian won’t drive, this could end their Italian dream.

With the couple’s ‘‘adventure before dementia’’ plans in disarray, retirement home neighbours and newly acquired bridge partners Harry and Judy, step up to the plate.

This creates a lifestyle conflict. The attitudes of the academic, Labour-supporting, slightly down-at-heel librarians on a tight budget rub up against those of a well-off, free-and-easy Nationalsupporting retired plumber and his recently acquired trophy wife.

The travel may be around Italy, but more amusingly, the journey explores places closer to home, politically, socially and personally.

First-time director Aaron Mcleod has cast this well. As the self-deprecating storyteller and repressed personality whose asides and commentaries keep the montage of travelogue scenes together, Peter Mackenzie makes a fluent, personable and believable Adrian.

Keeping him on a tight leash, There´se Angland shows excellent restraint as the self-contained, disciplined and prickly Lonely Planet Guide-thumping Alison.

Hamish White has the measure of Harry’s gruff down-to-earth blokey charm, pitching his roughedged portrayal with aplomb.

As Harry’s former PA, now wife, Joan Ford successfully balances Judy’s openly flirtatious nature with the character’s hidden and more sensitive side in a performance that has real heart.

The show’s main detraction is its languid pace, and while the production team makes it seem expansive on the small Fielding stage, a snappier approach to cues and scene transitions would provide a little more gusto.