Review - Timeshare

Malthouse Theatre Presents

Timeshare

By Lally Katz

Direction - Oliver Butler

Set and Costume Design – Dale Ferguson

Lighting Design – Paul Jackson

Sound Design and Composition – Jethro Woodward

Choreography – Bec Reid

Cast:  Fayssal Bazzi, Marg Downey, Brigid Gallacher and Bert LaBonte

23 April – 17 May

This ridiculously funny work, riddled with cliché and infused with strange surrealist unreality and imagery, was enthusiastically received on opening night.

Mother Sandy (Marg Downey) and Daughter Kristy (Brigid Gallacher) are at a non-specific resort, somewhere on the International Date Line in the Pacific, having their own generic holiday.  They seem happy enough but are both experiencing niggling problems and dissatisfactions.  The infinity swimming pool is empty.  Sandy seems to be wearied by the perpetual badgering, to buy a timeshare, by Gary the annoying resort manager, played superbly by Bert LeBonte.   Kristy, disappointed by her dismal failure to achieving a holiday romance, continues to foist herself on a completely disinterested tour guide, Juan Fernando, played with gusto and excellent comic timing by Fayssal Bazzi.

Brigid Gallacher and Marg Downey - Jeff Busby

Comparing this whimsical comedy with fanciful very early works from the extensive and varied Katz Canon the most significant difference is that Timeshare contains more coherently expressed meaning/message.  This comparison highlights how far Katz has come in the last decade and an half as a developing/maturing playwright. 

Timeshare is a well-crafted, funny and weirdly quirky work that surprises with a compelling exposition.  This is unanticipated and gratifying as it adds rich dimension to a kooky but already satisfying work.  The whole, with all its anomalies, is well honed together and effectively and efficiently managed by Director Oliver Butler.  There can be no doubt that he gets Katz’s fleeting imagination and entrancingly light touch.

Fayssal Bazzi and Marg Downey - Jeff Busby

However on two or three occasions there are some dull and possibly unresolved moments where everything seems lose drive and become static.  These moments could be justified within the overall rickety reality but they do allow for slippage in attention.

Marg Downey and Bert LeBonte -Jeff Busby

Marg Downey manages a difficult role capably and convincingly.   Brigid Gallacher shines and elicits much laughter in her contrasting roles of dutiful and somewhat long suffering daughter Kristy and passionate and ambitious dancer Maria.  Fayssal Bazzi is fabulous as Juan the Latin tour guide but not quiet as convincing as Gary, Sandy’s straight and well-meaning son.  All performers are required to have their characters waft away into light and lyrical song.  All the singing is enjoyable but Bert Le Bonte’s voice enchants.

Music by Jethro Woodward is great and Dale Ferguson’s set allows for all the changes and nuances of atmosphere that are skillfully achieved by Paul Jackson’s enriching lighting design.

Great fun – a really enjoyable production.

Suzanne Sandow

(For Stage Whispers)

Review - Neighbourhood Watch

Melbourne Theatre Company presents the Belvoir production of

Neighbourhood Watch

By Lally Katz

Directed by Simon Stone

Set and Costume Designer Dale Ferguson

Lighting Designer Damien Cooper

Composer and Sound Designer Stefan Gregory

Cast

Martin - Akos Armont

Ken – Charlie Garber

Pianist/Chemist – Anthony Harkin

Belinda/Doctor Valter – Natasha Herbert

Catherine – Megan Holloway

Milinka – Kris McQuade

Ana  - Robyn Nevin

Neighbourhood Watch is about the rich complex life of Ana an acerbic aging Hungarian woman.  Our amazing matriarch of Theatre Robyn Nevin is truly a ‘tour-de-force’ as Ana, who is depicted through her interactions with the people living around her.  It is fascinating to watch Ms. Nevin’s rich and multi-layered characterization.   Working opposite her, Megan Holloway as Catherine, adroitly bridges the gap of portraying a vague self-interested young actor and Ana’s younger self, both on treacherous journeys to adulthood.

Ms. Katz whimsical, insightful and often surreal writing requires sensitive deft handling.  Simon Stone’s remounted (Belvoir Street) production successfully taps into the essence of the text.  Whilst, on one hand, presenting the simple every day, on the other, it allows for the ‘once-upon-a-time’ slippage to be subtly incorporated thereby honouring the writer’s intrinsic departures from the mundane into the dreamlike.

Lally Katz’s unique work delves into the subliminal giving the sense that it stirs the subconscious.   There is usually a strong essence of the feminine in her craft, which brings to mind the work of Jenny Kemp. 

Ms. Katz’s young characters often blunder in a raw, and kind of embarrassing way that can be highly endearing.   Both Catherine and her housemate Ken (Charlie Garber) lurch awkwardly along as young adults trying to make their friendship, careers and mode of living work.

In Neighbourhood Watch the subject matter of the hidden past, vitality and strength of an old woman and how she communicates her wisdom to a much younger a woman is perfect material for both Ms. Katz and Ms. Nevin to weave magic. 

This production and performances has the power to suck one through the vortex into a liminal space.  There past the slippage, one can be entranced and engage openly with a sense of wonder at what is taking place in the rarefied theatrical world created.  The changes in atmosphere and realities are most obviously facilitated by the intense use of light by Damien Cooper and are endorsed movingly by Anthony Harkin’s piano accompaniment of music set by Stefan Gregory (Composer/Sound Designer). 

Multiple roles are skillfully and poignantly portrayed by Natasha Herbert and pianist Anthony Harkin delights with his quick surprising character transformations.

The translation from the smaller stage a Belvoir Street was not entirely comfortably realized on opening night and the vast unadorned, unyielding, stage of The Sumner appears to offer little support for the actors.  But it is unlikely to take a cast of this caliber long to feel and look completely at home on this stark set (Dale Ferguson).

Satisfying, rewarding and recognizably funny – with more than a smattering of magic.

Suzanne Sandow

(For Stage Whispers)