An entertaining challenge
IT has been nearly a year since Full Throttle Theatre Company’s first production of this local adaptation of a play of the German expressionism movement from early last century.
Since then, adaptor, director and star of the work, Todd Barty, has rewritten quite a lot of dialogue and added to the cast. The result is that the plot is now more coherent even if it is still not to the tastes of more traditional theatregoers.
It opens with sheer mayhem in an insane asylum as the doctor in charge decides that the most insane of all the inmates, played exquisitely by Barty himself, should be allowed a modicum of freedom in the name of “art”.
We are then taken back to when it all began, as the central character is shown in his natural setting, a bank clerk working in a haze of boredom and banality explained to the audience through a rather overlong mime scene.
Then the mysterious and beautiful “Lady from Florence” arrives at the bank ( an exceptional performance from Edie Venus Hutchinson) and the deluded lackey mistakes a mere brush of his hand by hers as a flirtatious pass. From that one touch he is obsessed, his life descending into chaos.
Embezzlement, running from the law, separation from his family, depravity and humiliation quickly follow, leading us ultimately back to the asylum where we began.
But in the meantime, there is much opportunity for some fine whiteface acting by the entire ensemble. All ( except Barty) play multiple roles. The young female actors of the cast make quick- fire changes from asylum inmates, to beggars, maids, prostitutes and urchins. Well done to Lucy Gounaris, Kate Greet, Rylie Hansen, Monica Pierano and Danette Potgeiter.
Joel Thomas plays several bombastic roles in his inimitable style.
Abbie Wakeham has matured as an actor over recent years and her roles as the doctor, beggar king and others are well handled. The stage experience of Stephen Duffie and Tenille McDermott is apparent from the start and they play their multiple roles impeccably. Joanne James rounds out the cast in an enigmatic role of mother and knitter.
A minimalist set designed by the director is made wonderfully descriptive by scenic artist Jeanette Hutchinson. Loryn Rennie’s costumes are simple yet effective, as is lighting and sound from Stephen Newitt.
Barty’s highly stylised and surrealistic vision is not for everybody, but sometimes theatre needs to be challenging. If you saw the play last year you will appreciate the changes he has made. If you didn’t, you should go to experience a very different type of show.
The Road to Midnight – Redux can be seen at The Courthouse Theatre.
RAY DICKSON