Merely to be Normal Directors Season 2 - Reviews.

The Zoo Story by Edward Albee | directed by Sam Phillips
A couple of benches, a scattering of leaves, an intellectual well-dressed hotty with an old book in central park, this is how I dream of meeting the love of my life. Instead, I meet a sensitive, patient father of two who is willing to listen to the stories of a bewildering, intriguing young man who has been to the zoo. This piece displays the desired outcome of every time you decide that this time you really will say that cautious hello to someone waiting beside you at the bus stop. This script, tenderly handled by both leads, speaks to the tiny tragedies of everyday life, the small mysteries and charming universalities. The leads play off each other’s energy beautifully, bringing this potentially dull script to life, and although occasionally unlit or looping the stage in awkward blocking, both perpetuate the story honestly and earnestly. The energy was vibrant, the acting magnificent, and my major criticism of the piece is that I wanted the second half straight away.  Bravo.

Ohio Impromptu + Rough for Theatre 1 by Samuel Beckett | directed by Jonathan Price

A page is turned. Silence. Strikingly reminiscent of ‘Waiting for Godot’, the beautiful opening image of the play combined with the thick, delicious dialogue and the stillness of the actors made for a hypnotic beginning. The loneliness and intensity of these men was striking, and I was a little saddened to witness the book being finished, as these two disparate characters became one, and then passed into oblivion together with a long exhalation and the line “Nothing is left to tell...”

And then came the awakening. A gentle crescendo of action, two tragic tales finding solace in mutual misery. The set, versatile and industrial, made for the perfect backdrop to this strange enthralling story, and talcum powder has never been so delicately employed as here (, in every other performance I have seen using chalk it has become an element in itself and a gimmick). The play between actors was invigorating and beautiful, and sustained the energy throughout while the power plays, accents and moments of hilarity created a wonderful feeling of challenge and elation.

Fold by Jo Randerson | directed by Bronwyn Cheyne

Energized. Terrifying. Insane. Offensive. Bewildering. Manic. Sick. Absurd. Scary. These are the elements of ‘Fold’. Effectively acted, we see blank canvas actors portraying 100% happy, (to the point of discomfort,) as we are introduced to what one audience member called a “cross between the future and a toga party”. The monologues throughout see mundane scripting made interesting, by the directing style and the ferocity of the actor’s joy. There is nothing natural about the forced vibrancy of the piece, and it’s mannered, polished standard implies a great deal of preparation and practice. We come away liking only one character, John, as he is pushed from the group of maniacs due to having real world problems, and not joining in with quite as much vivacity as everyone else as they roar with laughter at truly awful jokes regarding rape, race, alcoholism, suicide, refugees and religion. The repetitive laughter, head movements and underwear swaps help us find moments of grounding within the craziness of the show, which creates a great platform structure for the actors to work off of, and they all did incredibly well maintaining the energy and bizarre nature of the piece. Overall, this was an incredibly well handled, shocking show.

Merely to be Normal Directors Season 1 - Reviews.

Komachi by Romulus Linney | directed by Raicheal Doohan
We start the evening by a peaceful river under a beautifully crafted tree, and the enchantment that is created in those first few moments is never broken. There were no weak links in this performance, the movement and timing was polished and accurate, the striking set, detailed costuming and makeup, and subtle lighting and music all worked effectively to enhance the performance without ever being separate or distracting. Everything about this piece was delicate, elegant and professional. Acrobatics and moments of humor heightened and eased the intensity in turn, creating a smooth and enchanting curve. The actors engaged strongly with each other and the script, and communicated powerfully, with great projection and clarity. The emotive messages of the piece were honored, even cherished, by the actors and the director so that overall, this piece was truly beautiful, and I would highly recommend it.

Existence by Edward Bond | directed by Andrew Clarke

A dark and haunting piece, this performance created a sinister atmosphere with inconsistent success. Dealing with the practical issues of a play staged entirely in the dark, the lighting was effective in creating the appropriate atmosphere and in allowing us (mostly) to see some semblance of emotion on the actors’ faces. The piece was incredibly effective in making me feel wholly uncomfortable, which has value, however the disjointed pacing and brief moments of humor created a strange and occasionally dull ambiance. The power plays throughout drove me to want the woman to fight, give up, and then just shoot the crazy bastard. The stage-combat was well blocked, but I believe an overexcited male lead led to a very real danger for the female lead, which made me incredibly uncomfortable, and the cutesy coin-toss to start and hug to end did little to ease the discomfort I felt about the actors physical interactions. The emotion of the piece was effectively communicated, despite the occasional substitution of volume in lieu of emotion on the part of the male lead, but this did not hinder my overall engagement with, and interest in, the performance.

The Lost Babylon by Takeshi Kawamura | directed by Fern Wallingford

Laptop, vodka, coffee; we start the piece by viewing an image of total loneliness. A confusing context and a weak male lead led to an early disinterest in the piece. The blocking was consistently unrealistic and ineffective, and the music was often distracting. I couldn’t help but be struck by the irony of the line “It’s all about not boring the viewer.” The moments of excitement, engagement and humor were found in the conspiracy between soldier and writer, and in the strength of the female lead, especially during her monologue, although I found the use of media unnecessary, and would’ve loved to see the same monologue using a mirror to interact with the younger sister, a true conflict of self while physically looking at one’s self. Overall, this piece showcased the talents of the female lead with a backdrop of strange set, ineffective blocking, and an irritating use of media.

For more information on the pieces, and brilliant photographs of the creative process courtesy of Sollective, please visit merelytobenormal.tumblr.com