A Malthouse Theatre and Belvoir Production
Bliss
By
Peter Carey
Adapted for the Stage by Tom Wright
Direction – Matthew Lutton
Cast:
Marco Chiappi, Will McDonald, Amber McMahon, Charlotte Nicdao, Susan
Prior, Anna Samson, Mark Coles Smith and Toby Truslove
Set and costume Design Marg Horwell
Lighting Design – Paul Jackson
Sound Design and Composition – Stefan
Gregory
Stage Manager – Kristen Marr
Merlyn Theatre
4 May – 2 June 2018
Bliss is a fascinating ‘look back’ at the
heady days of abundance and hedonism in Sydney of the 1980’s through the sharp
incisive writing of Peter Carey - filtered by way of the perceptions and
dramaturgical skills of Tom Wright. It
is presented by an eclectic ensemble of versatile actors on a surprising set by
Marg Horwell with exceptional Lighting (Paul Jackson) and Sound (Stefan
Gregory) and highly polished by Direction by Matthew Lutton. It is a lengthy, ambitious, keenly
conceptualized and executed, hypnotic work that spans three hours including
interval.
One assumes the text is pretty much
completely drawn from Carey’s writing from the book of the same name, published
in 1981 that won the Miles Franklin Award and the NSW Premier’s Literary Award.
It flows eloquently and contains arresting imagery and marvelous smatterings of
insight and indeed wisdom.
At the commencement of the performance Toby
Truslove unassumingly breathes life into Carey’s words through his engaging
stage presence and adroitly modulated voice.
In contrast to my memory of Barry Otto’s
shocked and startled Harry Joy from the 1987 film (Directed by Ray Lawrence and
starring Barry Otto, Lynette Curren and Helen Jones), Truslove’s Joy seems to
take the unsettling events in his stride as they unfold.
I can still hear Otto’s voice ringing in my
ears and remember the film to be very lush and fecund. By contrast although fecundity is mentioned a
number of times in this work it is set on a stark empty revolving stage with a
feature of a kind of glass house. In
this way it is Carey’s language that features and the actor’s characterization
that resonate with sharp clarity.
Much emphasis falls on what was the
thriving world of advertising and the exorbitant amount of money, alcohol,
food, drugs, sex and general decadence and debauchery that went hand in hand
with this bourgeoning industry. Though I
think it is fair to say this decadence was experienced in many walks of life in
the 1980s. Carey seems to be identifying,
with at times, outrageous levity, some of the damage indulged in and
perpetrated particularly on a personal level.
Although financially the bottom fell out of
the 1980’s the relentless world of advertising is only partially losing its
hold in present times. Much of what is
being examined seems to have become more pertinent and relevant today as we are
belatedly trying to grapple with the concept of sustainability.
The casting of this stage version of Bliss
is partially ethnicity, gender and age blind which adds to the over all charm of
the flowing but rather epic story. In
fact nobody misses a beat.
Marco Chiappi excels, particularly as Alex,
Harry’s partner in the advertising company, when accidentally institutionalized
for insanity.
As Joy’s longsuffering, but not to be
suppressed, wife Amber McMahon wows with energy commitment, vitality and
vivaciousness.
Honey Barbara, a truly fascinating, strong
and complex character, is richly fleshed out by Anna Samson.
Susan Prior plays a variety of roles with
aplomb, flexibility, generosity and humour.
There are some issues with voice levels and
actors projecting unnecessarily - as they are all wired for sound. But hey that really is my only quibble.
An enriching adventure.
Suzanne Sandow
(For Stage Whispers)
