Perspective Arts Theatre Company has taken on a challenging and fascinating script for its inaugural production. In his programme notes, the company’s founder, Lochie Daniel, has outlined his company’s objectives and this first choice achieves a number of them. Among others, Perspective Arts wants to provide high quality performances and promote bold risk-taking. Under the sure direction of Harry Dewar, this cast clearly demonstrates those capacities, led by the exceptional Elizabeth Bentley.
We should celebrate, too, that this production was the first ever in the Little Theatre of the renovated and recently re-opened Hopgood Theatre. How fitting that Harry Dewar, who led the successful community action to prevent its closure, directed this production.
Margaret Edson’s script is complex and clever and won the 1999 Pulitzer Prize for Drama. It’s a play of delicious words and mind-stretching ideas. The plot centres on the central character, the uncompromising poetry professor Vivian Bearing, as she undergoes treatment for her aggressive ovarian cancer. She makes frequent reference to her studies and lectures on the works of John Donne, particularly the Holy Sonnets. Combining and contrasting that scholarly focus with the effects of the cancer treatment and the ways of the oncology department is unexpected, yet compelling. The play raises and debates major questions of how we regard life and death. The intensity is occasionally relieved with humour, albeit briefly. Nonetheless, it provides a welcome contrast.
Elizabeth Bentley was extraordinary as Vivian. She was on stage for all but a few seconds of the entire 100 minutes and commanded our rapt attention from the outset. Not only did she have the huge bulk of the dialogue, which she delivered with intelligence and subtlety, she also used the silences to huge effect. When she brought a silence, the whole theatre remained hushed. When she made a witty quip about others or in a self-deprecating way, she drew a warm response. In addition, the script required her to perform in three demanding ways: as Vivian in real time, as Vivian the narrator and commentator, and as the actor playing Vivian. She handled that complexity with a natural, authentic ease. It was an amazing achievement.
Giving strong support were Josh Van’t Padje as the socially awkward yet academically gifted young oncologist Jason Posner and Tony Shillitoe as Dr Harvey Kelekian, the professional, detached head of oncology who favoured his own importance over patient care. Alice Olwen impressed as the nurse Susie Monahan, the most empathetic member of the hospital staff. Her later scene at Vivian’s bedside was very affecting.
The Little Theatre was a good choice of venue, suiting the intimacy and intense focus of the production. The stage area is generous enough, and the choice to limit the set to black, with the addition of the hospital bed and a few chairs, helped concentrate our attention on the central character and action. That was aided, too, by the effective lighting and sound plots, simply establishing the sights and sounds of the hospital, contrasting again the two worlds of literature and medicine.
This was a fine start for Perspective Arts. May they have many more such successes.
