No Plain Jane

Theatre reviews and musings (mostly) from Adelaide

Tag: Michael Hill

Review: Boxing Day Test

Lest anyone be scared off by the title, no more than your absolute basic knowledge of cricket will be required when watching Boxing Day Test. My knowledge perhaps only just extends to the finer points of tippy go, and believe it is best experienced by playing on a sand bar.  I have absolutely no idea of how the scoring works, and to be honest I don’t much care to know.

After I couldn’t go to the Opening Night, or the following night, I was offered tickets to the preview performance: a night I could go to, but I wouldn’t have any time following to write about it.  I also felt strange about going and reviewing on a preview.  I have no problem with going to preview performances, and have done so frequently, but I also feel if I’m reviewing “professionally” then these shows should be untouched.  And they’re probably glad I didn’t review it: I heard the show went for four hours, had five stops, and twice actors were left suspended from the ceiling for eight minutes.  Oh, wait, no, that was Spiderman! The Musical!

This review originally appeared on

Christmas. It’s that time of year again. For some, a time for families, celebration, and looking forward into the future of a new year. Or for others, just the day before Boxing Day, and with it, the glory of the Boxing Day Test. For brothersPatrick (Tim Overton) and David (Nic English) and the Christmas approaching the one-year anniversary of their mother’s death, this test is going to be tougher than most.

Michael Hill’s Boxing Day Test is an often dark and tense look at a particularly hurt family, with damage traipsing back fourteen years finally coming out. Around the holiday,Dave flirts and connects with Patrick’s crush and fellow law student Sophie (Renee Gentle). To try and save from eviction, Patrick asks their father, John (Patrick Frost), to buy the house: he doesn’t realise this will mean his father coming back uninvited into Dave’s life.

Floating around for at least eight years, in an earlier incarnation, entitled Poor BrotherHill was shortlisted in the 2002 Jill Blewett Playwright’s Award, awarded at Adelaide Writers Week biennially. Despite these early accolades,Junglebean (a young company established and run by EnglishOverton and Gentle) is giving the script its world premiere production. It is a terrible sign as to the state of presentations of new works by South Australian writers that an accomplished piece of text has taken so long to reach the stage.

But through Junglebean, and under direction and dramaturgy by Duncan Graham, audiences are finally getting the chance to discover the script. While slightly uneven, where the piece tends to get unnecessarily bogged down in verbalisation rather than simply allowing the strength of character to come through, Boxing Day Test is a crafted portrait of four human and flawed characters, some more than most, and it is the final destination of each of these characters that truly creates the production.

Such characters cannot be brought to the stage without a strong cast. Here, English is the standout. While Dave is often unlikable in his actions, English strikes the balance between tortured soul, sexy bad boy, and a hint of brains, to create a thoroughly engaging character.

Frost is in fine form in the most narrowly written of the characters, yet this is a play that belongs to its young cast.Overton and Gentle truly come into their characters towards the last third of the play, as their characters are drawn in to the conflict. Gentle as Sophie in the last scene in particular left my heart beating. Overton does his best turn not as the straight-laced-student Patrick, but the drugged up Patrick. Where Gentle finds her best performance asSophie finds great strength, Overton finds his best as Patrick falls apart.

In an interesting directorial choice by Graham there is minimal physical contact between all characters on stage. While violence and sexual relationships are spoken about and are the overall themes of the piece, when onstage they are never extended beyond a short grab or a skimming embrace. While emotions run raw in a play that is so much about physical mistreatment, Graham never expands these emotions physically. This interestingly serves to create a level of frustration in these restrictions placed, yet highlights the tensions which are already present in the text, and do not need to be literalised.

Even in the one scene of overt violence, Graham maximises on the skills designers Tammy BodenAndrew Howard and Ben Flett, as a fight is created with a single actor, strobe lights, and frantic music. It is simultaneously a brutal exploration of violence and an exploration of the power of theatre to create images and ideas where there are none.

Playing around in the bleak, near squalor, of Boden’s simple, pared back and realistic set, Flett’s lighting design is tight, quickly changing between scenes in interplay between an abrupt change in Howard’s sound design. Within the frenetical world of the characters (particularly when under the influence of drugs or beer) these abrupt changes and high energy add to the tension of the construct.

As a counterpoint to these moments of high energy, Flett’s lights in the moments of tension and near quiet highlight the menace and pain within the script and the characters. Within the already small forum of The Bakehouse this extreme tightening serves to constrict focus onto the best parts of English’s performance.

Howard’s sound, primarily used in the scene changeovers and for snippets of commentary from the actual Boxing Day Test on the television, but also as more of a sound track to scenes veering on montage, provides a palpable energy and helps build the humour and the tension within the script.

The piece, while a fully contained story about a single familial conflict, also satisfyingly feels as if it fits into a much larger framework: there is a clear trajectory of where the characters have come from to get to this point, and an ambiguous yet present trajectory that these characters and relationship continue off the page beyond the confines of Hill’s script.

Yet, while HillGraham and Junglebean are tackling tough subjects that take a risk, overall it almost veers too much on a side of caution. Deliberate ambiguity in the set up led me to concoct a much darker storyline in my head, ultimately incongruent with the conclusion of the piece. The production would benefit from being pushed just a bit further into darkness and over that edge it sits on. Nonetheless, Boxing Day Test is a strong, new Australian work, from a young Australian company, which deserve to be seen.

Junglebean presents Boxing Day Test by Michael Hill.  Directed by Duncan Graham, set and costume designer Tammy Boden, sound designer Andrew Howard, lighting designer Ben Flett.  With Nic English, Patrick Frost, Renee Gentle and Tim Overton. 

Review: God of Carnage

Well, God of Carnage:  it is nice to finally meet you in the flesh.  Your reputation precedes you.

They almost look pleasant. Set by Morag Cook. Photo by Matt Nettheim

I read a lot of reviews: because I’m just generally interested in theatre, because there are many reviewers I enjoy simply as writers (my current blog roll, right, needs to be updated to reflect all the bloggers I currently read), and because it is part of my “education”, if you will, in improving myself as a critic.  So when Yazmina Reza’s God Of Carnage has played on the West End in 2008, and on Broadway and three separate productions in Australia in 2009, I have taken in many a review.

It is an oft mentioned criticism of the script that it needs a strong cast to carry it, and this is accompanied by “so it is a good thing they found a cast so strong”, or “so the script tends to fall down when…” Since that is considered such knowledge, it is then remarkable that I never even thought, “it’s a good thing we have such a good cast”, for indeed when this cast, under Michael Hill’s direction, really bite into the heightened reality, the cracks which others mentioned failed to show.

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