La Mama
Presents
Bock Kills Her Father
By Adam Cass
Directed by Penny Harphem
Bock - Emma Annand
Taylor - Marissa O’Reily
D’Agostino - Emina Ashman
Chambers – Roby Hughes
Sarah – Annie Lumsden
Sound design and composition by Raya Slavin
Set and costume by Owen Philips
Lighting design by Jason Crick
Dramaturgy by Seanna Van Helton
La Mama Theatre – A part of Melbourne
Fringe
September 16 - 27 2015
The title Bock Kills her Father with its suggestion of parricide immediately
had me thinking of The Cenci by Percy
Shelly a disturbing work about incest
and murder that was lauded and directed by Antonin Artaud. I wondered if this aspect of Theatre History
inspired writer Adam Cass or perhaps it is the more current sensational stories
of the sexual abuse of students by teachers that has informed his intense and weighty
piece.
This polished production, in many ways
reminiscent of the Neon production of Patricia Cornelious’s play Slut, is disquieting. It is set on a murky yet translucent blue
colored performance space (Owen Philips) that is nicely lit by Jason
Crick. And it is underscored with
tortured sound, (Raya Slavin), that is grating and appropriately irritating and
a far cry from the jaunty promising melodic music that opens the work. This harsh sound could well be referencing
Artaud and his ‘Theatre of Cruelty’. For
me it is the strongest component in the production.
As an ambitious undertaking Cass has
produced a perplexing piece of writing that may well be difficult to wrangle. It is a text that quite subtly reveals its
truths bit by bit. It is part
naturalistic and part a kind of crazy subtext.
Initially individual rhythms and personalities impress but as the
evening progresses, and possibly through a lack of playing clear intentions by
the actors, characterization seems less clear. However having said that this could be
intended in the writing as all young protagonists seem to be ‘tarred by the
same brush’ and, it would seem, are perpetually disenfranchised by their
immediate community.
There are a number of scenes that don’t
feel real. However the opening night
performance inferred, that, if the actors garner speed, confidence and a more
complete sense of their characters, particularly what drives and motivates
their vindictive craziness, the whole should galvanize and make stronger sense
of what the writer is trying to say.
Owen Philips set is strong in its
minimalism but his costuming is neither here nor there and seems to have a
conservative edge. It is too clean and
pristine and middle class all round and makes little reference to the set. It also adds to the sense of naturalism and
therefore only partially serves the text.
As for what it is being suggested about the
damaging and dividing of young woman by a (possibly) predatory male - this is
not fully integrated in the whole and perhaps requires some stronger social
references to give the whole more relevance and clout.
This challenging and bemusing work although
not fully satisfying, and way too nice, is thought provoking and has a great
deal to offer.
Suzanne Sandow
(For Stage Whispers)
