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Toy Symphony
Presented by:
Queensland
Theatre Company & State Theatre Company of South Australia
Venue:
Cremorne
Theatre, QPAC, Brisbane
Reviewer:
Kellie Scott
Date Reviewed:
Sunday 15th
November, 2009
It was a pleasing beginning of light-hearted
entertainment that later dived into a boring spiral of
thought-provoking, emotional turmoil at last night’s production of
Toy Symphony. And what was I thinking about - what is this
nonsense?
Act One, although confusing, was enjoyable with
surprises around every corner. It was an imaginary world of fun that
triggered excitement and laughter. Alexander the Great appearing
from under the actors’ feet, and Antarctic warrior Captain Oates
leaping through the window bringing a blizzard were definite
highlights. Act Two was more despondent and perplexing without the
entertainment to lift it.
Roland Henning, played by Chris Pitman, has writer’s
block. However, it’s made clear early on this is no ordinary case of
writer’s block. It’s something more self-indulgent than that.
Henning is encouraged by a friend to seek help outside his own mind,
so he goes to see a shrink. Psychiatrist Nina, played by Lizzy
Falkland, takes more than an invested interest in his predicament
and is brought to tears upon hearing his childhood memories. This
absurdity speaks for itself. Spurred on by the intriguing childhood
of Henning, the audience is taken into his fantasy world (or is it –
he claims he has a gift?) of conjuring forth historical figures.
While Henning fears his ability to write and imagine is completely
lost, there may still be hope.
Essentially the production explores a writer who has
turned in upon himself, daring to search his own brain and figure
out how his creative mind works. However, it’s hard to sympathise
with this troubled character. The sexually disturbed neurotic speed
freak fails to inform the audience of why he is this way. The show
suggests it is an autobiography, but unfortunately one that only the
writer could truly understand. Gow has laid several intense personal
struggles on the table to be judged in this story but he doesn’t
reveal enough to explain what its purpose is.
But it’s not all bad. Pitman delivers a great
performance as the intense and restless writer, dealing with issues
he so badly wants to diagnose with his gifted way with words.
Instead his analysis causes him to fall deeper into his own woe. The
opening confession of his problems to Nina was long-winded and
comical and Pitman handled wordy lines such as this with ease and
fury. Daniel Mulvihill was a worthy artist to play the roles of
Russian Nick, and aspiring actor Daniel. His delightful Russian
accent was accurate and consistent, and the audience understood and
empathised with his portrayal of Daniel. Ed Wightman was hilarious
in a range of roles. Highlighted were the stern headmaster, dense
footballer Steve Gooding and Henning’s child psychologist, Dr
Maybloom. I couldn’t fault the performances of any of the cast,
which was also made up by Barbara Lowing and Lizzy Falkland, but
unfortunately this shining element of the production stood apart
from the story itself.
Jonathon Oxlade’s set design was brilliantly clever
with the ability to transform into a range of environments smoothly,
along with many ingenious and surprising trap doors that created the
imaginary world. This colourful and sometimes gloomy atmosphere was
cemented by Brett Collery’s composition and sound design, and Nigel
Levings’ lighting.
Audiences are either going to love or hate this one,
but ultimately it takes itself way too seriously.
Toy Symphony is showing until the 12th of
December. Bookings on
136
246.
Kellie Scott reviews for her website
www.brisbanecritiques.com, which was launched in October of
2008. Her reviews can also sometimes be found at
www.absolutetheatre.com.au. Previously her critiques for music
and film have been published in The Catholic Leader and The
Satellite newspapers. She is currently studying Journalism at
university, and hopes to use this to develop her writing skills,
focusing on becoming a professional critic in the future. If you
would like to contact Kellie, please email
kellie@brisbanecritiques.com.
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