No Exit

‘No Exit’ (the original French title ‘Huis Clos’ equates to ‘In Camera’) is a 1944 existentialist French play by Jean-Paul Sartre, in a contemporary setting. This absolutely amazing presentation is the latest Acting and Production piece (2) from the Murdoch theatre students, is being shown at the Nexus Theatre, Murdoch University, South Street, Murdoch.

In this 70-minute play there are two alternating casts – mainly the same members; cast one will perform Wednesday 30^th and Friday 1^st, cast two on Tuesday 29^th, Thursday 31^st and Saturday 2^nd November. All shows commence at 7.00 pm.

 

      The lights dim, and the Charlie Daniels Band playing ‘The Devil Went Down to Georgia’ becomes louder. A red glow at the back of the stage shows the latest arrivals to Hell, silhouetted. As they take their seats on the three tiers, each of seven chairs, ‘Perfect Day’ from the latest celebrity to depart this earth, Lou Reed, brings a poignant moment.

      We are ‘warmly’ welcomed to Hell by the gushing, brightly dressed, upper crust valets (Cassee Lazic, Christian Blackburn, Kelly Thomas-Miller). Then, addressing Garcin, we learn that Hell is not a torture chamber but is – to quote Sartre - ‘other people’; where the other people are in fact ourselves being forced to see the other people within us. 

      We join the damned cowardly and callous Garcin, lesbian postal clerk Inès and a high-society, philandering Estelle as they are locked in a single room of Hell for eternity. None of the group will admit to the real reason for their being in Hell. Deserter Garcin states that he was executed for being a pacifist, when in fact he cheated on and abused his wife. Estelle insists that an error in the sorting system has been made, actually had an affair and then killed the resulting child. Wise and manipulative Inès knows that they are lying to themselves, and that the group has been placed together essentially to make each other wretched, and so goes out of her way to annoy Garcin and Estelle. When Estelle flirts with Garcin, Inès is furious and become vicious.

     Will anyone have the chance to escape purgatory? Is there any hope of redemption?

 

The cast was:-
GARCIN portrayed in various styles from tough, Bikie-like to the foppish caring person. With a humorous and a demanding side.
Daley King
James Hynson
Phillip Hutton
Thomas Dimmick
Aaron Vanderkley
Jake Shannon
1-Laughton McKenzie, 2-Gabrielle Colli

INES as a tough lesbian, to an easy-going, domineering and then a motherly side.
Bella Doyle
Rayelene Chin
Rebecca Thompson
Emma MacMillan
Nicola Brescianini
Charlotte Westrip
Cat Perez
 

ESTELLE from the manipulative, lying, demanding to the shy, nervous childlike character
Shannon Rogers
Emily David
Sarsi Elsberry
Elizabeth Wharton
Hayley Lyons
1-Alex Wallish, 2-Jade Galambosi and Sarah Bond
1-Renee Paterniti, 2-Karen Hansord
 

With a cast of 21actors representing the three central characters, all of whom have very complex, specific character traits and finely tuned personalities, the director Serge Tampalini had a massive task to realise the best performances. He has taken on board two extremely capable assistant directors, Chloe McGrath and Amy Murray, both of whom have proved themselves as quality actors in the past productions.

With the actors facing the audience, there was no feed or chemistry from the actor who has just delivered a line. The actors were seated in the dark for the whole show, they only stood up in anticipation of their brief dialogue; a narrow spotlight, well barn-doored or snouted, would come on and then from a cold ‘standing start’ the performer would have at most 5 seconds to deliver a line with passion, character and at times humour. The dialogue might only be one word. The light would then go out and the actor would be seated again, awaiting their next cue.

The lighting, what can one say? Tim Brain and Tim Green had 680, yes, 680 lighting cues in a 70-minute production. To make this task even more amazing, they carried out their duty with a standard, non-computerised desk. The lighting team were fed their cues and then without hesitation or error, every actor stood waiting for their cue light. Most of the lights were simply on / off, but some had slow fades. Exceptional work.

To make the characters even more tangible, they ‘texted’ the traits of their characters (other actors) on their glowing hand-pieces, live streaming their existence.

The set was devised by Travis Hasson and Sam Knox. There was a design of three interlocking arrows suspended above the group, this had photos and various computer smiley faces etc. projected upon it to show the speakers mood or reaction. The positioning of the chairs had to be precise, and so the demands upon the stage manager (Laurie McAinsh) were tougher than usual. The costumes were wonderful; the wardrobe department (Maree Stedul, Hailey Ten-Haaf) created 21 very different, instantly recognisable personalities.

One of the cleverest plays that I have ever seen. The cast, techies and directors took a huge risk, but the quality of ALL concerned just left the audience gobsmacked.

Brilliant, a ‘must see’ show.