G.bod Productions throws two icons onto the stage for this Sydney Gay and Lesbian Mardi Gras season: the lesser known Peter Wyngarde (Garth Holcome) and the idolised Bette Davis (Jeanette Cronin) in monologues devised by the actors with the director Peter Mountford. The very different styles of the monologues rather cleverly showcase the acting styles of each: Wyngarde believed an actor should make the character fit the actor; Davis believed the actor should “rise up into the character”. Wyngarde did not believe in acting lessons, Davis was passionate about refining her craft. Both bear an uncanny resemblance to the their source material.
One could not be part of Western Culture without knowing who Bette Davies was. Most of us have a favourite quote of hers (I’d love to kiss ya but I just washed my hair). But one might easily not know who Peter Wyngarde was. Mike Myers famously based his Austin Powers on him. An actor and style icon of the 70’s, he is best remembered as Jason King, a suave novelist turned sleuth. Holcombe gives us a Wyngarde whose brash, cool hipness is a facade for the lonely, traumatised man within. Purporting to be a ladies man (he was hospitalised after a mob female fan attack in Australia) he hid his homosexuality as many were forced to do at the time; charges of gross indecency telling their own story. It is a surprisingly delicate and fragile monologue, undermined by poor lighting and tech cues. One incident with the phone would have been funny had the audience been sure it was not a tech failure. But as there was no established relationship with the bio-box, you have to assume it was Holcombe’s skill turning an awkward stage situation to good account.
Thankfully, the tech problems seemed largely eradicated by the second half, where Cronin took us on a whirlwind tour of what really mattered to Bette Davis. Acting. The men and lovers in her life are sidelined to the love she had for her craft, her mother and sister. How gloriously refreshing to see a female character celebrating her relationships with female members of her family, rather than being at war with them. Cronin gives a Bette who drew strength from women and fought for the right to play central characters of substance instead of being playthings or sidekicks for men.
Here are two very different but equally compelling performances; insightful glimpses into “what made ‘em tick”. There is an intelligence in the material chosen (how do you encapsulate a life in an hour?) and the choices made reflect thoughtful, well-researched discussion between actor and director. Now, if we can just get the tech cues right ….
Kate Stratford, Theatre Now Sydney
