Picnic at Hanging Rock Brisbane Arts Theatre Review
'Picnic at Hanging Rock' was haunting.
'Picnic at Hanging Stone', the latest in Villanova Players diverse 2019 season, delves boldly into the world of Australian Gothic Theatre. The infamous story haunts the Australian psyche and most audiences will come with a prior attachment to the tale. Our history with this slice is long and wide-ranging, from the 1967 novel by Joan Lindsay, the 1975 moving picture adaptation, the myriad of inspired plays and ballets, and i must not forget the 2018 Tv serial that all the same clings freshly to the minds of fans. All of these combine to make the play an apt choice for staging.
For those who remain somehow uninitiated, ready in the early 1900s, 'Picnic at Hanging Rock' follows the story of three seniors from Appleyard College, an all-girls school, who get missing on their yearly school picnic to the mysterious 'Hanging Rock'. The enquiries that follow with the teachers from the college, the young student who followed the 3 seniors when they snuck away, and the British toff and his banana, round out the residual of the plot.
Australian Gothic Theatre is reliant totally on creating the right atmosphere and adhering to some traditional tropes. Tropes such as the emphasis on the Australian bush-league and its flora and fauna, themes of isolation and loneliness, predominantly white article of clothing, colonialism, and slightly choreographed, ethereal moments.
Director Jacqueline Kerr does an admirable task tackling this awkward script, for though it is a classic piece of Australian literature the bodily text is simplistic. With some cleverly staged moments, brilliant costumes, and fantastic attending to detail in fix pieces she brings out a nice gothic temper through the piece.
Kerr creates some lovely visuals and poignant moments in this production. A notable example is her use of physical theatre techniques to convey all the girls and teachers travelling to the stone via railroad vehicle. Kerr places the bandage around a bench with four standing, four sitting on the bench, and four sitting on the floor and having them all bounce themselves equally if riding in a carriage. This use of the space and technique definitely lent itself to the production and removed the clunkiness that could take come up with bringing an actual carriage into the space.
The nigh poignant moment in the production is, without doubt, the last image the audition is left with. The rock, in full light, with all its victims surrounding information technology staring eerily out into the distance. An ingenious move to really underscore the accent on the stone and to keep the mystery surrounding information technology at the forefront of the audience's heed.
The costumes, by Desley Nichols and Lia Surrentino, are perfectly accurate to the time and filled the gothic theme to a tee. The young chorus of schoolgirls, arguably the most gothic aspect of the piece, are dressed the unabridged fourth dimension in long white dresses with only a hint of coloured ribbon to distinguish them.
The stand out attribute of the entire production is the 'Rock' itself. Standing every bit tall as the phase infinite, which in the Ron Hurley theatre is very high, it takes upwards the bulk of stage correct. Set designer Lucy Moxon has truly outdone herself creating this piece. Non only is the rock impressive in and of itself, but Kerr keeps a light trained on the rock the entire production, truly making it its own graphic symbol within the play.
Notwithstanding, having the residuum of the static set detracted slightly from the experience. While the audience is trying to imagine the characters in the bush-league, a bed is constantly set just behind them on stage. In saying that, the creation of the unlike locations and the gear up pieces themselves were very well done, simply information technology would have been interesting to see some exploration of how these pieces could be moved and otherwise utilised.
Beyond the staging of the show, Kerr has brought together a great ensemble of actors. Though in that location are problems with the projection of some of the actors, an issue overall in the Ron Hurley Theatre, by and large every word of the script can be heard. The strongest performances came from Lillian Dowdell as Irma and Nicholas Sayers as The Honourable Michael FitzHubert. Two young actors with a high level of professionalism, the play lifts every time ane of them walked on stage.
As Irma, Dowdell is an excellent residuum of petulant school girl, gothic icon, and dislocated young woman. Where others seem unsure or maybe nervous in the production, Dowdell moves with ease and commits herself one-hundred per cent to every facet of the role. She creates a wonderful Irma who the audience empathises with and roots for.
In the role of the young British toff, Sayers is everything the audience needed. Complete with poncy attitude, voice, and demeanour he creates a strangely endearing all the same slightly off-putting young human being. His rapport with his banana Albert, Steven Eggington, is fantastic and the two make a conceivable pair.
Other notable mentions include Desley Nichols equally Mrs Appleyard, the principal of Appleyard College, who's upright portrayal of the character suited the piece, though perhaps can use some more certainty with lines. Emily McCormick in the role of Miranda and Bianca Delahaye in the part of Sara also give solid performances. They have all the basics of their characters but could potentially elevator their energy just a little more than to strengthen their portrayals. Lastly, Robert Gettons equally Mr Hussey and Colonel FitzHubert does an admirable chore distinguishing the lowly carriage driver and the British toff.
To complement the actors, fix and overall temper of the play Kerr created a perfect soundscape. Constantly in the background of the piece is the sound of the Australian bush, filled with bird calls and insect noises. An interesting emphasis is placed on diverse characters equally they are given their own bird telephone call. For instance, whenever something happens to young Irma a kookaburra calls. Within this soundscape Kerr as well added the sound of curlews, truly anchoring the piece in the world of Australian Gothic Theatre.
Overall Villanova Players product of 'Picnic at Hanging Stone' was well done. It employed some gothic theatre techniques to build the correct atmosphere and explore this strange and disturbing piddling play. An first-class choice by Villanova Players and they are to exist commended for exploring Australian pieces in their season.
'Picnic at Hanging Rock' performs until Sunday, eight September 2019. For tickets and boosted data go to Villanova Players Website .
Source: https://www.theatrehaus.com/2019/08/picnic-at-hanging-rock-villanova-players/