MOH - on the Concept of Love

‘MOH – on the concept of Love’ is a series of cameos in mime, beautifully enacted by the three devisors. This 40-minute production from Valentino Brignoli and The Cutting Room Floor can be seen in the old Repco Auto Repair shop at 8 MacEwan Street, West Leederville. The best parking is in Bermondsey Street. The performances begin at 7.00 pm and the season runs until 25^th August.

 

On entering the theatre, you crunch across the ‘snow’ covered floor. The performance space walls, floor and ceiling are all pure white. A small glass fish tank sits on a table in the corner. A church bell is heard tolling.

       As the lights slowly rise, a whimpering, half-naked girl (Katherine Shaw) is seen sitting on the floor in the foetal position gently rocking. An almost Zombie like-man (Declan Burgess), painted white and dressed only in his underpants, drifts in carrying a goblet. It becomes obvious that this man’s movements are having a profound effect on the young girl.

      With every new love affair comes some ‘baggage’, this man carries much more than one would expect.

      Then there is the chase! How hard does one have to try?

      When your love gives you his heart, should you treasure it?

      The girl is obviously reaching for the stars in her search for love, when another man comes along (Kevin Wangai) with a gift – and incidentally, the only lines in the play - which are spoken in Swahili (?).

      Sweetmeats, a slow dance and the love develops.

      The wine flows, intoxication and a sexual challenge follow.

 
 

These cleverly devised, short cameos were acted by three very talented performers under the direction of Jay Emmanuel. There were a couple of short video pieces, that I thought superfluous and didn’t add anything new to the storyline. The whole story was left to the analysis by the audience. I saw the play from two completely different angles – and I am sure that there are more interpretations.

The team were mainly from Edith Cowan and WAAPA, and the quality showed. The lighting rig was simple, and yet very effective, thanks to imaginative operation by Nicole Pearce and Claire Mouchemore.

By the final curtain, the cast were exhausted with their admirable, strenuous and adventurous performances. Most enjoyable, but left me wanting more.