Sydney
Congratulations to the entire team for getting this production of The Time Machine right.
The venue was well chosen and entering the space I immediately felt part of the production. The set designer (Derrick Cox) had, to great effect, used red drapes to match the audience seats. A small glowing red draped model time machine sat stage right. This was the only colour in the black walled stage and small auditorium.
Simulated gaslights lit a simple uncluttered stage. An image in black and white of exterior architecture further immersed us in time and place. We, the audience, were inside a lecture theatre of the Victorian era ready for the time traveller to address us.
Enter the time traveller (Mark Lee) who tried to impress upon his audience of the existence of the fourth dimension – time. As the audience remained unconvinced he left the stage for some ‘time’, returning disheveled, with his disturbing tale.
I was reminded of the Ancient Mariner as Mark delivered the play’s poetic language. He did so flawlessly, passionately and with great effect. My only criticism was that he over-physicalized in an effort to describe his experience of the future world. For me this was a distraction, the power of his voice and the text were enough, particularly in the early stages of the tale. However, in the climactic sequence – the ‘underworld’ of the future, this physical acting style was necessary and masterly. He conveyed the place, its horrors and his emotions perfectly.
Images were projected behind the stage to enhance the tale. Some, particularly the ones in black and white, were atmospheric and evocative others were slightly jarring particularly when bright colour was used. Perhaps this was the intention of the obviously talented illustrator (John Kratovil).
The director (Gareth Boylan) saw that nothing was wasted on this set; the blackboard telegraphed important information and the traveller’s pocket watch was finally broken signaling its irrelevance. Lastly the petals from a future time were placed on the small table. Here, I must refer to the lighting (Martin Kinnane) which, throughout the play was spot on. It created mood, atmosphere and the illusion of otherworldliness, as did the subtle sound effects.
Particularly poignant and mesmerizing was the final illumination of these petals at the play’s end. The petals were perhaps symbolic of life, love and even hope. The time traveller had left us, his audience, alone again to muse on the present, the possible future and what we are and might become.
Liz O’Toole – Theatre Now
Photos by Robert Catto
