AND THE COW JUMPED OVER THE MOON
And The Cow Jumped Over The Moon, Ensemble Theatre, July 30-September 30, 2009; ph: (02) 9929 0644 or www.ensembletheatre.com.au
MARK KILMURRY, the Ensemble’s associate director, has gone the Mike Leigh route with his latest write/direct project. Meaning that Kilmurry had an idea, workshopped it with his chosen cast in extended improvisations and discussion, then went away to write the script. Then, in the rehearsal room, he and the cast further improvised until opening night (and maybe thereafter, but who’s to know). The result is an intriguing and often extremely funny bittersweet comedy that has more truth beneath its bright surface than is at first apparent. And now, read on!
Mike Leigh’s method is one that demands an unusual degree of trust and knowledge between actors and directors. It also means casting is crucial because, at the beginning, the actors don’t work with a script and don’t know who they are supposed to be, and as the process unfolds, each only knows what his character would know. In the right hands it can produce unforgettable characters and meaningful comedy; in the wrong hands, well, it’s forgotten and meaningless.
Mark Kilmurry worked closely with Jamie Oxenbould and Catherine Moore on You Talkin’ To Me? Diary of an Olympic Cabbie and knew from that experience that he wanted to extend and explore Moore’s comedic potential. Oxenbould – the hapless cabbie of the first play – is a delightful stage presence and the perfect foil for Moore’s larger-than-life propensities. In the latest work they play Samantha and Gavin, a couple that isn’t quite and may be going nowhere, but who’s to know because Gavin isn’t too sure and anyway, he isn’t exactly separated from his wife, but sort of is and Samantha doesn’t know how to spell commitment but loves Gavin, probably.
It’s a situation ripe for some couples counseling, so enter counsellor Barnaby Johnson (Michael Ross who actually is a counsellor when he isn’t acting, so the apparent level of authenticity is genuine). What follows, on a simple triangular set which enables much to-ing and fro-ing and sharp exchanges of even sharper dialogue, is a portrait of a romance with still-life and a third party.
The collaboration between Kilmurry and the actors has yielded a rich comedy with darker undertones that keeps the audience alternately chuckling and grimacing in recognition of familiar excruciating moments in the lives of most people – if we’re honest, which is rare when it comes to the banana skin slips of relationships. The improvisational technique has delivered dividends that would make the ASX sit up and take notice. The downsides are minor: a little self indulgence on the part of the director in giving the spectacular Moore too many verses of his favourite standards (they and she sound great but the songs stop the play dead in its tracks); while some earnest and knowledgeable interventions from the counselor could also be trimmed in the service of pace and forward momentum.
Overall, however, And The Cow Jumped Etc is excellent entertainment with some occasionally alarming insights and much laughter (you need to see it to understand the title). Oxenbould and Ross are both as solid as might be expected and generously support Catherine Moore in a dazzling performance that should make casting directors all over town sit up and take notice. And Mark Kilmurry continues to demonstrate skill and innovation in negotiating the strictures of the Ensemble audience minefield. More improvisational power to his elbow.
