“A Stretch of the Imagination” is a one-man tour de force by iconic Australian playwright Jack Hibberd. It is presented by SOLUS Productions with Marc Clement in the sole role of Monk O’Neill and directed by the esteemed Tony Knight. Written in 1972, “A Stretch of the Imagination” is a long monologue coming in at around 100 minutes, and has been performed over the years by notable actors such as Max Gillies.
Monk O’Neill is an irritable old coot holed up in the Australian bush somewhere in Victoria near a creek at a location called One Tree Hill. Monk lives alone in a shack, by choice, and Mort, a former colleague is buried in his back yard. Their names are apt! Monk, like his milieu, is in gradual decline and he is determined to out talk death. The play is episodic, with one scene giving way to the next with each separated by Monk retreating to his shack to change costume or retrieve a new hand prop. With each scene Monk gradually reveals himself to be well travelled, well read, and well educated. We learn that he has tasted the finer things in life (figuratively and literally), but his true nature has compelled him to live the life of a recluse. Each scene is crammed with philosophical musings, tall tales, nostalgia, demonstrations of bodily complaints, and the occasional fart joke! The audience becomes very acquainted with Monk’s persistent prostate problems and shares his almost ecstatic joy when he can produce a reasonable stream of urine!!
The title of the play is a nod to both the preposterousness of Monk’s tales and the colossal effort needed by the actor to pull it off. The play touches on a number of themes including facing one’s own mortality, surviving isolation, the power of memory to impact the present, and … the virtues of stubbornness!
For any actor, “A Stretch of the Imagination” is a substantial stretch – vocally, emotionally, physically, and imaginatively. Clement’s chosen voicing and accent exemplifies the rough Aussie persona, but it is frequently difficult to discern exactly what he is saying. However, Clement uses his body very well and constantly ‘word paints’. It’s an object lesson in stagecraft. Director Tony Knight’s touch is evident throughout, but full credit to Clement for succeeding in creating a visual picture that is always intriguing for the audience to watch. One-hundred minutes is a long time for an audience member to watch one person on stage! In fact, for the audience, the whole thing is a bemusing but poignant journey through the mind of a very unique character.
As one walks into the Holden Street Theatre, one is immediately struck by the musty smell of decaying leaves and roughly torn tree branches that are scattered around the set. In one corner of the acting area, Monk’s rough shack built of random pieces of corrugated iron almost ages and decays before our eyes, as does Monk himself. The lighting is effective and underlines the mood of each scene. Costuming is squalid adding to the overall feeling of an existence in decline.
