19/03/2009 - 21/03/2009
ONE MAN, ONE GUITAR AND THE ROAD
Sit down, relax, and kick off your boots. It’s snowing outside and we ain’t going no place. From the company who brought you A City of Souls comes the hot new one man show Slow Train.
Max is a drifter. He’s always on the road. He carries little more than his guitar as he goes pub to pub across New Zealand. He plays some songs and he drinks too much but he’s still alive …
One night when the snow comes in hard on a southern road he takes refuge in a small cabin to ride out the storm. Max is left to ride the night out with a bottle of scotch, his guitar and a story to tell.
Written and performed by Jonathan Hodge, Slow Train is a play with music which follows the fortunes of a back country balladeer, Max.
Jonathan Hodge will be familiar to Auckland theatre goers from most his recent work in Catalyst’s A City of Souls but he was also in Silo’s original Ensemble Project in Auckland Festival 2007. He has also worked for ATC, SmackBang and Pandemonium amongst others.
‘It will be good to see what Catalyst Theatre do next.’ – Shannon Huse, NZ Herald
The Basement (Lower Greys Ave, Auckland CBD)
Thursday 19th – Saturday 21st March
5:00pm – 5:50pm
Tickets available through Aotea Centre Box Office (09) 357 3355 or www.buytickets.co.nz
The Auckland Fringe runs from 27th February to 22nd March 2009.
For more Auckland Fringe information go to www.aucklandfringe.org.nz
Earnest profundity lacks real teeth
Review by Nik Smythe 20th Mar 2009
Jonathan Hodge is Max, a lone guitar-toting trench coat-wearing minstrel with a bristly face and inevitable aspirations to Dylan, keeping on keeping on down the road. We meet him on a freezing night in a remote pass where he’s been caught in a blizzard and taken refuge in a rustic hut.
He manages to get a fire going and heats up a tin of spaghetti, all the while muttering about the cold, taking sculls of whiskey and expounding his philosophies as though there’s some sort of theatre audience watching.
Max’s demeanor is serious, despondent at times, with the trademark cynicism of a broken-hearted romantic. It’s clear he has a chip on his shoulder. He talks much more of the conflicts and mistakes of his past than the fun times. Even when recounting the odd adventure it seems laced with a kind of fatalistic doom.
Directed by Ben Van Lier, Hodge’s acting is a mix of natural and demonstrative; a solitary soul who really seems more at ease in his own company in the middle of nowhere than even ours, his ‘imaginary’ audience. (Existential conundrum anyone?) On opening night he fell a bit short of truly inhabiting the character, so that we weren’t as fully drawn in as we might have been.
There’s an odd contradiction to this Max fellow – principally uncompromising, but regretful and apologetic (to the point of apologising to the ladies for the way he looked at a certain girl he met and describing her as ‘hot’). In fact, his wry approach to the fairer sex is sardonic, bordering on misogyny.
At the point he’s reached in the play, his closest relationships with women – and Johnny, his soul-brother on the road whose parables he recalls with veneration – are all past history. But the full extent of Max’s responsibility, or rather avoidance of it, and the resulting cognitive dissonance, is revealed at the end of 50 minutes of indulgent self-reflection.
Max/Hodge’s three original songs are mini tributes to key moments in his life story. A few lengths shy of Max’s deluded aspiration to Dylan, the earnest profundity of his lyrics and the simple country-folk-blues match the sombre tone of the piece, pleasant enough but lacking real teeth.
Hodge’s first foray into the ambitious and confronting world of solo theatre has real potential for development. There’s plenty to relate to and with greater cohesion, more humour, and songs worthier of the life that has written them, Max’s lonely story could be one we really want to hear.
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