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Angels In America: Part One - Millennium Approaches
Presented by: Heidelberg Theatre Company
Venue: Heidelberg Theatre, Rosanna
Reviewer: Jennie Kellaway
Date Reviewed: 10th July 2008
Why do we write? Why do we perform the works of writers? What makes
us want to convey the author’s intent?
Never before have I had to question my understandings, beliefs and
sort through the images presented as I have with Heidelberg Theatre
Company’s Angels in America. This is not a piece of theatre for
those who seek a frothy, entertaining night out. It is a three hour,
message laden, dramatic and confronting evening. Thursday evening’s
audience of twenty-five people were not testament to the effort that
had proceeded the days to opening night and Thursday’s second night.
The amount of thought and work that goes into any artistic endeavour
is not evident to the audience, but as a performer, I was impressed
by the dedication and obvious amount of emotional and technical
skills presented by the cast and crew.
From a technical viewpoint there was much to be admired. The set,
which provided a multitude of performance spaces, included a double
bed which was extracted from within the base of the set on a number
of occasions. All parts of the stage were used and with a change of
props, spaces became everything from a park to a hospital ward.
This gave Lighting Designer Jason Bovaird licence to use his
multitude of talents to evoke the mood of New York in the mid 1980s
and to convey the emotional journey that the cast and audience must
travel. All changes of scene and movement of settings happened
seamlessly and was a credit to the stage management. There were
numerous sound and lighting cues, culminating and the spectacular
final moments of the show and it was a credit to Cameron South and
his crew.
This show is incredibly demanding on performers, with all actors
having at least two characters to play. The highly talented cast
were all strong and seemed to have a sense of the type of person
they were portraying. The story line follows the lives of two
couples, one dealing with his partner having AIDS, and another
trying to find himself professionally and emotionally.
Paul Kennedy, as Roy Cohn, assaults the senses in the opening
minutes with his brash, frenetic characterisation. Paul has a great
understanding of the quirky character and makes you listen to his
tirade through his physicality and his vocal nuances.
Angelo De Cata as Joe Pitt draws you to his performance through his
despair at his situation and his fine dramatic timing. His
understanding of the man desperately trying understanding his
sexuality, coping with his neurotic wife and working out his career
is central to the message Kushner emphasises in the script.
As Harper Pitt, Joe’s wife, Rhiannon Leach made us believe that she
really was the delusional pill-popper that she is purported to be. I
would question her costuming, as she is supposed to be a Mormon
wife, and as such should probably have worn a skirt and headscarf,
not tracksuit pants and t-shirts. Her accent at times was difficult
to understand, but as the cast had an accent coach, possibly it was
correct in too much detail. Most accents were handled well, although
I would question the consistency and clarity in some performers.
Tim Constantine as Louis Ironson also gave an amazing performance as
one half of the gay couple. He gave a real sense of confusion at his
need to move away from his AIDS infected partner and we saw a lot of
light and shade in his characterisation. As his partner’s health
declines, so do his feelings for his partner.
Justin Stephens gave his AIDS affected character Prior Walter as
sense of despair at his own condition, and yet not realising the
effect that his health is having on his relationship. He also played
the part with health issues of his own, having injured his leg
during rehearsals and used wheelchairs, crutches and chairs to great
effect.
Juliet Hayday’s four characters were superb and she played both male
and female roles. Her Rabbi Chemelwitz at the very start of the
show, delivering the prologue was excellent. It is easy to see why
she won a VDL award in 2007. Other supporting actors, Peter Telford,
Kate Bowers and Glen Barton all ensured the high quality of the
acting remained at the same level.
The front of house staff at Heidelberg Theatre made us feel welcome
on a cold night and the sherry in the foyer was most enjoyable.
Mention must be made of the programme. The inside front cover was a
poor low-res version of the poster, and whilst the information
contained in the programme was adequate, it did not reflect the
standard of the rest of the production.
Did I enjoy this piece? A review is one person’s subjective opinion.
I admired the effort and dedication of the Director Bruce Akers and
his cast; the characters have some wonderful moments. I enjoyed the
hospitality of the Heidelberg Theatre Company and their obvious
pursuit of challenging and innovative theatre. I believe the piece
to be dated and self-indulgent on author Tony Kushner’s part. I
encourage the theatre community however, to support the performers
and their vehicle but prepare yourself to wade through a story which
is long on delivery and heavy as an intellectual challenge.
Jennie completed a very busy year in 2007, performing in Return
to the Forbidden Planet at Fab Nobs, The Producers
at Whitehorse and Fab Nobs First Five Years Concert. A
primary teacher, with post graduate qualifications in Arts
Education, she has taught drama, choir and performing arts and been
involved in all facets of stage craft. Jennie has performed with
many with theatre companies for more years than she cares to
remember. She has been nominated for numerous awards by the
Victorian Theatre Guild and The Lyrebird Awards. She is soon to
begin rehearsals for Catchment’s The Full Monty as Jeanette. |