THE BLOODY BENDERS
Museum of Wellington City & Sea, Wellington
18/02/2014 - 21/02/2014
Production Details
To kill or not to kill?
What’s a love-struck teenage serial killer to do, when your next victim seems to be the love of your life? And on top of that, your mother talks too much, your dad doesn’t talk enough and your brother hangs on every word you say. Some things are just a little too close for comfort and Kate Bender Jr. soon finds out that growing up in a household where murder is the family business is deadlier than any weapon she’s ever wielded.
Inspired by a true story, The Bloody Benders, an exciting new horror-comedy presented by the Killer Darlings Collective promises to deliver pure escapist theatre with a side serving of emotional heft. Come along for some laughs, a few scares and a bloody good time.
The Bloody Benders
When: 18th-21st of February 2013 at 7.30 pm
Where: Museum of Wellington City and Sea, Jervois Quay, Wellington
Bookings are through eventfinder.co.nz
Theatre ,
1hr
Undramatic
Review by Phoebe Smith 19th Feb 2014
The Museum of City and Sea is an excellent choice of venue for this play which is based on a 19th century family of crude serial killers. As we walk through the dark corridor amongst barrels and sacks, it is easy to feel transported into the past. It is odd then to find that the set consists of contemporary furniture that is out of place.
The Bloody Benders are a family of serial killers from Kansas who were active during the late 19th century. As owners of a scungy hostel, their modus operandi was to lull an unsuspecting guest to comfort over dinner, then to bash them over the head with a hammer and steal their meagre belongings.
What an amazing concept for a play!
Unfortunately, this play does not exploit the possibilities presented by the premise. From the very beginning of the production we are struck by the awkward and unpolished performances of the actors involved. While for the most part they know their lines and deliver them audibly, they fail to convey any sense of real character or emotion.
The exception here is Hannah Kelly who plays Kate Bender Snr, the matriarch, with a mad-eyed energy and a degree of realism that is a blessed relief for the audience.
Given the potential that this concept has, it is particularly unfortunate that the script is predictable, dull and fails to negotiate a structure that highlights any dramatic significance that may have been available. Why has this company chosen to ‘remove the brother’? Could they attack the issue from a different angle (so to speak)?
Gazing up at the lights that are rigged in this space I wonder why a few more aren’t pointed toward the faces of people on the stage. While the general ‘vibe’ of dim light is appropriate, seeing the faces of the actors would potentially aid the audience.
This is a concept that would be well worth exploring again, however in this case it needs to be from the grave up.
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