Catch 22

Never have characters been as wickedly hilarious and eccentric as those in Catch 22.

The brilliant and timeless humour by Joseph Heller allows the audience to poke fun at the madness of war, while attempting to remind them of its serious side.
The play, first produced in 1971, is set in World War II and, despite its age, is as relevant today as it ever was. The story follows soldier Yossarian, who is struggling with the reality that he is ordered to continually risk his life, and for what? He is surrounded by foolish and outlandish soldiers, officers and doctors who are driven by the Catch 22; a clause forcing them all to stay. Yes the official regulations say a soldier can be sent home after completing 40 missions, but they also say he must never disobey an order from his Major. If his Major increases the number of missions, he must complete them. It’s a catch 22!

If only the entire play was as absurd and hilarious as it was in act one it would have been a watertight production. Act two attempted to draw its audience into a more serious and emotional look at war, but unfortunately the script’s badly paced change from humour to drama left me waiting for the comedy to return. Because of this, the show failed to tug at my heartstrings. However, the failure to touch me emotionally in no way took away from the marvel of the characters and the charming spell they had over their audience.

All the cast gave exceptional performances and made many difficult character changes with ease. Congratulations must go to James Gauci in the leading role of Yossarian. His sarcastic nature and blunt attitude towards his situation was unfaltering, and his energy levels never dropped despite his substantial role. There were a number of comical stand-outs including Tom Dunstan as the Texan officer dressed in a bathrobe and cowboy hat, and also as the Mafia-like C.I.D. man with a stress-induced twitch. Damian Campagnolo was sensational as Colonel Cathcart whose main aim in life was to add feathers to his cap, and as the non-confrontational Major Major. Alex Lanham was a hilarious Doctor Daneeka, and finally Dan Beeston was a definite highlight of the night when he portrayed the mad psychiatrist with an irrational fear of seagulls.

The warped silliness of this show and the constant play on words were an absolute delight, and the difficulty to perform the script deserves much praise. Countless character changes and prop exchanges, as well as the challenging humour was pulled off wonderfully by this creative team. Director Gregory Rowbotham really tapped into the comical essence of this story and presented it amicably. It’s a shame the same can’t be said for the more meaningful tone of the story but it would seem the script’s sharp transition from comedy to misery was to blame.
The army barracks set by Richard Hunt was designed well for role changes, and the off-centre idea of actors changing outfits on stage worked well with excess costumes hanging on a clothes line. However it was quite alarming to hear afterwards that the off-stage cast remained in the tent on stage for the entire show! Costumes by Robyn Edwards were a great success, particularly for Colonel Cathcart and the Texan officer.

Overall, this thoroughly enjoyable comedy deserves big crowds and loud applause. Hurry along to see it before the season ends on April 3rd. Bookings can be made online at www.artstheatre.com.au.