BOUNCERS- More Bounce to the Ounce.
Sun, 19 Aug 2001, 12:10 amEliot McCann3 posts in thread
BOUNCERS- More Bounce to the Ounce.
Sun, 19 Aug 2001, 12:10 amProduction: "BOUNCERS" by John Godber
Company: Arresting Productions- director Kyla Winslet
Venue: Kalamunda Performing Arts Centre
Date: 18/8/2001
(Author's warning- this post is pretty damn LONG!!)
Bouncers- we've all come across them, be it the guys who won't let you into a club because you're too drunk, or the very same guys who will hold the door open for you as you load in your guitars and amps for a gig in a crappy pub. Sometimes both events occur in the same exchange- I know this from my own experience! We see them at night in their penguin gear, we hear about them cracking some poor unfortunate's head open at the back of the club... but do we KNOW them?
John Godber's play gives us a comic insight into what makes these guys tick- are they the brainless pugnacious beefed-up door-bores we imagine? WHY do they work long hours in foul venues dealing with the aggresive and the pissed on a nightly basis for no money? Through three shared perspectives (the bouncers, the "lads" on a night after a pull, the "gals" out for a bit o' fun) "Bouncers" explores the world of the nightclub doorman with wit and verve- and ample amounts of comedy, both subtle and brash.
Kyla Winslet has achieved a minor miracle with this production. Directed with a lightness that belies the subject matter, the show careens effortlessly from high comedy to pathos to unease and back again. Kyla has wisely chosen not to hammer home the working-class struggle or to exaggerate the more grotesque elements of pub-life. And the end result is a show that is extremely polished and exceptionally slick.
To aid her in her task of bringing this show to life, Kyla has assembled an ensemble of four fine actors- and I mean the word "ensemble". Seldom have I seen a show that relies so much on the innate camraderie of four actors who have worked hard with the script- and these particular four actors all their brought their vastly different attributes to create a unity upon which this show must be built.
To highlight each of the four- simply because they deserve it- let us start with Kingsley Judd; not the most obvious choice to play a bouncer, due in great part to his (lack of ) frame. What Kingsley may lack in physical size he more than compensates for with sheer energy. His physical prescence is undeniable as the almost-psycotic Les- yes, you HAVE seen bouncers like this guy . The focus of his range of characters (all of whom are imbued with Kingsley's unique drive) is unwavering and this gives each character an edge that is ever so slightly exaggerated- but rightly so given the context in which each exists.
Simon Baynes as Ralph depicts the quiet achiever- Ralph does his job in an efficient manner with very little regard for anything or anyone around him. As "Sexy Suzie" he has the allure required for the suburban "town bike" (y'know, everyone's had a ride...). Simon's performance is a fine example of "less-is-more"; an excellent companion to Kingsley's hyperactivity.
Eddie Stowers as Judd is a revelation. Looking every bit the true bouncer, I was floored by his sensibilty in the characters he played. Eddie is an imposing man, with an impossibly Robeson-esque voice, but his physicality is his undoubted asset, ranging from Judd the "hard man", to a college fop (perfect!!) to plain Elaine, the girl no-one dares dance with, his use of his body (as with his fellow cast members) was superlative.
Finally, Chris McCaffery as Lucky Eric brought a note of pathos to the precedings. A note that could be heard like a clarion call throughout the theatre. His reading of Lucky Eric (particularly in his four monologues) was quite simply beautiful. You truly came away with the feeling he'd been in this man's shoes all too often. If there is a "lead role" it is Lucky Eric. However, Chris gave the role just enough pathos to highlight its humanity without trying to be the show-stopper, which a less subtle performance would have made it- and thereby undermined the whole balance of the production.
Lighting and sound were faultless- and indeed all the technical elements blended so seamlessly one forgot they were there. The staging was wisely restricted to bare minimum props and no costume changes. This enabled the action to flow without hindrance to its pace. These devices were effectively utilised throughout and were never instrusive. I particularly liked the "state of repose" to connotate the re-appearance of the bouncers; an ideal opportunity for the actors to compose themselves for the next scene.
My only quibble was the choice of venue- KPAC just seemed too big a space for a show that relies on a fair degree of intimacy for its impact. Seated as I was in the second row, I often felt sorry for those five rows behind me as they were likely to miss much of the subtle nuances that made the performances "human".
However it does not help when a venue that seats in excess of 250 people is housing only 50. Theatre going public of Perth, WHERE WERE YOU??? This production deserves far greater acclaim than a cursory two-sentence review as previously posted on this site, and FAR better patronage than the paltry houses it has received. You will only know what I'm talking about if you actually get out there and go see it. Reading my review isn't enough. Go see it.
My congratulations to all at Arresting Productions for their production of "Bouncers"- you have done a wonderful thing here; mounted a production where all four parts fit seamlessly with each other. My best wishes for your future seasons at Short St (Fremantle) and Kiwnana Arts Centre. May you relish in better houses at these venues than you have had up to now.
Eliot McCann
ps: will it help the houses to mention there's a strip show at the end? I'm not kidding here....
Company: Arresting Productions- director Kyla Winslet
Venue: Kalamunda Performing Arts Centre
Date: 18/8/2001
(Author's warning- this post is pretty damn LONG!!)
Bouncers- we've all come across them, be it the guys who won't let you into a club because you're too drunk, or the very same guys who will hold the door open for you as you load in your guitars and amps for a gig in a crappy pub. Sometimes both events occur in the same exchange- I know this from my own experience! We see them at night in their penguin gear, we hear about them cracking some poor unfortunate's head open at the back of the club... but do we KNOW them?
John Godber's play gives us a comic insight into what makes these guys tick- are they the brainless pugnacious beefed-up door-bores we imagine? WHY do they work long hours in foul venues dealing with the aggresive and the pissed on a nightly basis for no money? Through three shared perspectives (the bouncers, the "lads" on a night after a pull, the "gals" out for a bit o' fun) "Bouncers" explores the world of the nightclub doorman with wit and verve- and ample amounts of comedy, both subtle and brash.
Kyla Winslet has achieved a minor miracle with this production. Directed with a lightness that belies the subject matter, the show careens effortlessly from high comedy to pathos to unease and back again. Kyla has wisely chosen not to hammer home the working-class struggle or to exaggerate the more grotesque elements of pub-life. And the end result is a show that is extremely polished and exceptionally slick.
To aid her in her task of bringing this show to life, Kyla has assembled an ensemble of four fine actors- and I mean the word "ensemble". Seldom have I seen a show that relies so much on the innate camraderie of four actors who have worked hard with the script- and these particular four actors all their brought their vastly different attributes to create a unity upon which this show must be built.
To highlight each of the four- simply because they deserve it- let us start with Kingsley Judd; not the most obvious choice to play a bouncer, due in great part to his (lack of ) frame. What Kingsley may lack in physical size he more than compensates for with sheer energy. His physical prescence is undeniable as the almost-psycotic Les- yes, you HAVE seen bouncers like this guy . The focus of his range of characters (all of whom are imbued with Kingsley's unique drive) is unwavering and this gives each character an edge that is ever so slightly exaggerated- but rightly so given the context in which each exists.
Simon Baynes as Ralph depicts the quiet achiever- Ralph does his job in an efficient manner with very little regard for anything or anyone around him. As "Sexy Suzie" he has the allure required for the suburban "town bike" (y'know, everyone's had a ride...). Simon's performance is a fine example of "less-is-more"; an excellent companion to Kingsley's hyperactivity.
Eddie Stowers as Judd is a revelation. Looking every bit the true bouncer, I was floored by his sensibilty in the characters he played. Eddie is an imposing man, with an impossibly Robeson-esque voice, but his physicality is his undoubted asset, ranging from Judd the "hard man", to a college fop (perfect!!) to plain Elaine, the girl no-one dares dance with, his use of his body (as with his fellow cast members) was superlative.
Finally, Chris McCaffery as Lucky Eric brought a note of pathos to the precedings. A note that could be heard like a clarion call throughout the theatre. His reading of Lucky Eric (particularly in his four monologues) was quite simply beautiful. You truly came away with the feeling he'd been in this man's shoes all too often. If there is a "lead role" it is Lucky Eric. However, Chris gave the role just enough pathos to highlight its humanity without trying to be the show-stopper, which a less subtle performance would have made it- and thereby undermined the whole balance of the production.
Lighting and sound were faultless- and indeed all the technical elements blended so seamlessly one forgot they were there. The staging was wisely restricted to bare minimum props and no costume changes. This enabled the action to flow without hindrance to its pace. These devices were effectively utilised throughout and were never instrusive. I particularly liked the "state of repose" to connotate the re-appearance of the bouncers; an ideal opportunity for the actors to compose themselves for the next scene.
My only quibble was the choice of venue- KPAC just seemed too big a space for a show that relies on a fair degree of intimacy for its impact. Seated as I was in the second row, I often felt sorry for those five rows behind me as they were likely to miss much of the subtle nuances that made the performances "human".
However it does not help when a venue that seats in excess of 250 people is housing only 50. Theatre going public of Perth, WHERE WERE YOU??? This production deserves far greater acclaim than a cursory two-sentence review as previously posted on this site, and FAR better patronage than the paltry houses it has received. You will only know what I'm talking about if you actually get out there and go see it. Reading my review isn't enough. Go see it.
My congratulations to all at Arresting Productions for their production of "Bouncers"- you have done a wonderful thing here; mounted a production where all four parts fit seamlessly with each other. My best wishes for your future seasons at Short St (Fremantle) and Kiwnana Arts Centre. May you relish in better houses at these venues than you have had up to now.
Eliot McCann
ps: will it help the houses to mention there's a strip show at the end? I'm not kidding here....