The Bleeding Tree
Written by
Angus Cerini
Director - Lee Lewis
Composer - Steve Toulmin
Designer - Renée Mulder
Lighting Designer - Verity Hampson
Cast
Paula Arundell, Brenna Harding, Sophie Ross
Fairfax Studio
15 – 19 May 2018
At the heart of The Bleeding Tree is the question of why, as neighbours and friends,
do we turn a blind eye to the perpetration of domestic violence. It is an extraordinary work of ‘high art,’
with rich integrity. Superb
craftsmanship is skillfully fused together by Director Lee Lewis.
The
Bleeding Tree commences with an abrupt change of
atmosphere, brutally, bringing the audience into the pitiless world of a
desperate story.
I’m not giving away any secrets by quoting
the press release: “The only issue now
is disposing of the body.” This tells us there has been a death, but what happens next is
pretty wild, wacky and unexpected. The
production is darkly imbued with an Australian Gothic sensibility.
Three women portray, a Mother (Paula
Arundell), and, her two daughters (Brenna Harding and Sophie Ross) who live on
a desolate and fairly isolated country property. We witness a grim and gruesome incident
perpetrated by the Mother. Subsequently
as events unfold we better understand the cause and the overall situation. We are
perhaps not inclined to judge, as there seems to be, little room, or need, for
remorse or regret.
The story is told partly through the
stilted personal language of the three women and partly through the voices of
visiting neighbours. The girl’s
responses to, and sharp asides about, these intrusions, are very telling.
Writer Angus Cerini’s poetic language, that
at times even rhymes, does much to create atmosphere and convey the intimacy of
the relationship between the three. When
just talking amongst themselves they use a kind of stilted abbreviated language. This also suggests isolation. Indeed,
these three women have been isolated by a powerful, controlling man.
The acting is superb and all three actors are
deeply convincing as they represent the essence of what it is to be relentlessly
tormented and afraid of ferocious violence.
Each also takes on personas of visiting men
to startling effect. Paula Arundell most
particularly displays extraordinary vocal versatility in speaking as a rough
but caring bloke. It is easy to she why
she is a Helpmann recipient for this performance. She shines but so do Harding and Ross as they
very convincingly embody young girls.
Cerini’s words paint strikingly vivid and
memorable visual imagery.
Lighting (Verity Hampson) at times bright
and at others shadowy endows the story with added dimension.
Designer Renee Mulder has stripped
everything back. The three actors work
on a bare stage, which is partially raised in tiers and painted with a floral
carpet like design. The costuming feels
timeless and is perhaps indicative of the 1950s or 60s or 80s. The two young girls have that grubby look of
neglected or indeed abused children.
Sound (Steve Toulmin), at first deeply
disturbing and insidious white noise, is later used in various ways to assist
in creating assorted atmospheres and imagery.
As I watched I was continually referring to
my memories of Cerini’s work Animals,
Directed by Susie Dee and presented in November 2016 at Theatre Works. Both are extraordinary pieces of Theatre that
very bravely explore issues around the social problem of domestic abuse.
An extraordinary work for six voices - or
three voices, six characters that are richly embodied in this marvelous
production.
Strong and timely.
Suzanne Sandow
(For Stage Whispers)
