Mark’s Score 3 stars
Van de Maar Papers is a highly seductive title for a play so I was full of anticipation for a work replete with suspense and plotted red herrings. It certainly contained intrigue as the general narrative set up is skilfully wrought by playwright Alexander Lee-Rekers. However director Camilla Turnbull has not a tight rein on establishing a taut and pacy show. Admittedly it begins well with the introduction of the various characters and its stylisation. But this was not sustained and impacted greatly on the comprehension of the plot twists and my investment of interest in the machinations played out before me. .
There is certainly a lot of performance talent on show. The principals: Lucy Miller, Nathalie Murray, Terry Serio and Simon Thomson do well in their individual roles with Ms Murray being on the money each time in her pacing, risk taking and authenticity. Sophie Strykowski, Melissa Hume, Jessie Lancaster and Tom Matthews, collectively billed as The Attendants appear in various roles, existing mostly as a kind of Greek chorus commenting on the action through some accomplished movement set pieces. Program notes do not mention a choreographer therefore I feel their contribution to the play could have had more meaning and impact if supported by a gifted movement teacher.
Some cumbersome scene changes had to be endured. An audience can understand location with very little setup that is done briskly and with a shared rhythm. Too often actors were asked to set the scene with extraneous props and in a haphazard manner. What is needed here are overlapping scenes with the next scene being constructed as the present one is reaching crescendo – those attendants were at times underused in their capacity. Too often a company may not get the time they need in a space to rehearse these changes, therefore a theatre technicians work I admire and who I dub “the busiest stage manager in Sydney, Christopher Starnawski”, will, I am sure, tighten up these scene changes.
Production design is by Damien Egan who has costumed the show with success. Some technology inaccuracies confounded me with the use of mobiles and 1990s telephones which meant that I was never sure when the play was set. Lighting design is spot one so kudos to Sophie Pekbilimli and Mr Lee – Rekers impressed with his sound design.
Van de Maar Papers has had a previous showing in Sydney with some of the same creative team in place on this revival. Has there been a missed opportunity here to build on the successes of the earlier production? The result being that the strength of the writing could not shine as brilliantly as it could have.
Mark G Nagle – Theatre Now
