“… flawlessly executed … another winner”
Julia Newbould
4 Catches
Venue : Empress Theatre in conjunction with Old Fitz
Sydney
Dates : Until 31st October
Two men, Andre de Vanny and David Soncin, sit at a table drinking tea, eating biscuits, and gossiping about the royal family – Kate, Meghan and Diana. Only a few moments into the play and we realise that these two actors are playing two old ladies, Theresa and Roberta, talking about their kids. Theresa’s son Tim (de Vanny) has just announced his engagement to a Korean woman. A lot of politically incorrect comments ensue. It’s a light comedy and we’re immediately drawn in.
The next scene is an active domestic one with Robin McLeavy playing Lon, and David Soncin his wife Roberta. Lon is getting ready for a doctor’s appointment and Roberta (Soncin) is trying to hem his pants.
The third scene shows Robin McLeavy in her second role as Daniela – Lon and Roberta’s daughter, and Robbie’s sister.
Catch as Catch Can is a complex play that examines relationships between parents, friends, and siblings. Three very talented actors showcase incredible versatility and sense of timing as they each play two characters – mixing genders and age.
“Catch as catch can” refers to making do with limited resources, and this is exactly how the play progresses – both in themes and the small number of people acting each scene. It’s about doing the best one can – and in this case, the result is a top-notch play and performance.
Scene after scene brings the play closer to a film or television script in pace and timing. The themes evolve from light chit-chat between parents, to IVF, single parenthood, dating, marriage, and divorce.
Director Anna Houston says making sense of this play requires patience and work, and each person’s reading of it may be entirely different to that of your neighbour.
This indeed was my experience. My neighbour found the play most interesting in the latter scenes with the mental health depictions and dealings with hospital staff, perfectly portrayed by McLeavy as Daniela. The frustration, anger, and tension in McLeavy’s performance perfectly captured the familiar emotions of being in a medical environment.
For me, it was more of the mothers and the older generations with their children that caught my attention.
At first the scenes were very distinct and ended with a smart one liner, but by the end, the scenes seemed to become more natural progressions in action.
The Christmas scene midway through the play is a farcical standout. The chaos and complexity of the scene was jarringly familiar to anyone with experience of large family gatherings. The three actors filled the stage and delivered a sense of the endless prep and chaos, and comings and goings. The seamless movement from one character to another for each of the actors was breathtaking, and in particular when de Vanny played both mother and son. Humour was sprinkled well into the chaos with the first guest turning up to a 6pm invitation at 4pm, others arriving just a little later, and Roberta pointing out after all the chaos that people were still not supposed to have arrived yet.
Most of us have similar experiences to much of the action on stage and seeing it play out showed the playwright’s insight into domesticity and dialogue.
Director Houston made clever moves with set and characters, and the scenes were very much separated, often through interesting musical interludes which hinted to a 60s/70s New Jersey vibe.
Kate Beere has provided a set which is easily transformed between scenes, and the costumes which remain unchanged even as actors switched roles allowed them to perform without distraction.
The play is well written, well-directed and well-acted. Accents were excellent and the quick changes in character for the actors were flawlessly executed.
The Old Fitz has produced another winner.
Julia Newbould, Theatre Now
