WHAT A JOURNEY! |
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) By Eli Kent Directed by Eleanor Bishop THE PLAYGROUND COLLECTIVE at Centre of Contemporary Art: CoCA, Christchurch From 23 Jul 2009 to 25 Jul 2009 [1 hr 15 mins, no interval] Reviewed by Steph Walker, 27 Jul 2009 |
What I love about the Christchurch Arts Festival is that audiences are invited to more than just the international showstoppers - Guy Boyce has put together a programme that highlights great innovative local works too. The Intricate Art of Actually Caring is the first of two such productions at CoCA (the Centre of Contemporary Art).
This is the third season of this work, and the first I have seen. From what I understand, while the script has been gently moulded and sculpted, the design aspects of the show have had to undergo pretty dramatic transformations for each: the first production in a bedroom, the second in the darkness and concrete of Downstage, and now this vast white space in Christchurch.
The Intricate Art of Actually Caring has elements of a coming of age story, with the newly fired Jack (Jack Shadbolt) and the apathetic Eli (Eli Kent) heading off to find James K Baxter's grave, the great New Zealand poet and founder of the Jerusalem, or Hiruharama, commune on the banks of the Whanganui river.
Jack, a budding poet, sees this as a pilgrimage, while Eli (who is related to Baxter) is just along for the ride since he has nothing better to do. It turns out that the sudden death of their mate Johnny Harrison is what really spurred on the travels. Being the first taste of death their group of friends has had to confront, the idea of mortality is preying on Eli and Jack's minds.
We go along with the two guys, taking in the sights and listening in to their conversations, which is a real treat. The combination of witty banter and poetry, as well as the incredibly clever use of OHPs in the set design (which I'll get to later) makes us feel as if we truly are in the car, travelling up the highways and byways of the rural North Island... No mean feat since it feels about a million miles from urban Christchurch.
CoCA as a venue is both a blessing and a curse. As the audience walks in, Eli is rolling around the grey lino floor on an office chair, beer can in hand; rolling around his 'bedroom' which is a simple black and white line drawing projected with two OHPs on the back wall. Jack sits near the small screen to the right, still, talking in to the Dictaphone.
I have to admit I thought it was going to be a bit of an Old School On The Conditions and Possibilities of Helen Clark taking me as her Young Lover type show, until those flimsy sheets of clear plastic started to move. The OHPs (designed by Erin Banks & Heleyni Pratley) are brilliant: they suit the space perfectly, and are used superbly throughout. Jack's parents, the guy who almost beats Eli up in the Levin Maccas, and the roadkill are just a few of the deft touches.
My only criticism is that at times the OHPs are a little too well done. For me they work best when they are simple black and white drawings used imaginatively. The car is simply signified by the guys holding headlights; minimal lighting used for maximum effect.
And the curse? As soon as the two actors open their mouths I sink a little in my seat. CoCA is an echoing cavern of a place, and any time the two actors move around the place whilst excitedly talking loses me. Which is a crying shame, as the writing is a superb mix of young guys chatting up a storm, and Jack's poetic ramblings. I think Eli has some great lines too, but whenever he gets worked up, he starts talking faster. And whenever that happens, I can't make out what he's on about.
Shadbolt is a lot more steadfast in his delivery; handy since Jack is the main narrator of the piece. They are both engaging, although I have to agree with Jack that Eli is being a bit of a dick. It takes a good 40 minutes before I have any affection for the character.
The two work together with the assurance of old hands, and what a lot of work they have to do with the OHPs all operated by them. With all the cleverness of the design, I have to say my favourite moments of the play are when all is still, and we can take in the poetry of the expert script by Kent.
My only other gripe is that for a very New Zealand pilgrimage the music is pretty much all from overseas. But that is pretty minor. The audience loves it, as do I. What a journey!
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