The shape of things
DAVID Berthold is about to leave Sydney, for the time being, andgo north to Queensland to take on the artistic directorship of La Boite, one of their oldest and best known theatres. The popular director is Brisbane’s gain.
It’s apt, therefore, that his last production for Emerald City before backing his ports is a NIDA graduation play. Berthold is terrific with actors – generous, experienced and intelligent – and a good choice for the fledgling stars of next year as they stretch their tender wings in public for the first time.
The vehicle for this particular first flight is Neil LaBute’s The Shape of Things, the four-hander staged in 2003 at Wharf 1 in a Sydney Theatre Company season. Under Berthold’s direction and as designed by Justin Nardella (lighting Isabella Kerdijk) it’s virtually a different play, in the best way possible.
Nardella’s set is a tightly focussed white box of large flat panels that swing vertically, rather like giant louvres, to create side and rear entrance/exits and secondary spaces; as well as opening up to reveal one view or another. It’s an ingenious idea and works really well. It means the actors can keep the play moving between scenes with little to distract or impede the flow of the action.
And as the action is complex, witty and fast-moving anyway, the setting assists the crucial pace and style of the production and makes for an absorbing and highly entertaining 90 minutes.
The Shape of Things is also an apposite choice for a student production because it’s about an art student, Evelyn (Sarah Snook, pictured here), who is preparing for her final project. She falls for Adam (Brad Kannegiesser), a rather goofy guy who is so in her thrall he will do virtually anything to gain her approval – new haircut, new clothes, even a bit of nip and tuck. Watching, with growing consternation, are his uni friends Jenny (Augusta Miller) and Philip (James Elliott, pictured).
Jenny is bemused and intimidated by Evelyn, Philip is enraged by her. In LaBute land there will be tears before bedtime: that’s the only certainty. All four actors take to the play and their characters with conviction and obvious understanding. In particular James Elliott’s simmering and sustained irritation – rising rapidly to rage is riveting to watch.
And as the mysterious, infuriating and mesmerising Evelyn, I’d like to bet that Sarah Snook is one of those rare creatures of whom people will stand around in foyers in a few years time and say to one another, “Do you remember when ...?” and the numbers who do remember would fill the Entertainment Centre, rather than NIDA’s studio theatre!
And in a few years time, after the chilly winds of unkind and dopey directors – never mind shifts at call centres or on crappy soapies –have taken the shine off these last weeks, I’d like to bet the students involved in The Shape of Things will remember, clearly and truthfully, that their director was one of the good times that keep you coming back for more, no matter what.
