The Blackwood Players’ production of “The Visit” a 1955 play written by German playwright Friedrich Durrenmatt is certainly a piece chock full of theatrical interest. It is a bold choice by director Greg Elliot and a noticeable shift from the Players’ usual lighter and frothier offerings. The play might well be considered a Grimm Teutonic fable or a simple cautionary tale or even a piece of nouveau Shakespearian-like tragedy. It is probably all of the above and more. Interesting!
The villagers of Gullen await the arrival of Claire Zachanassian a billionaire oil heiress who was born and grew up in the village. She had left the town at the age of seventeen in poverty, pregnant and in disgrace having been given a false judgement in a paternity case she had activated against Anton Schill, her then boyfriend and now Gullen’s successful store owner. The town has fallen on hard times and all the townsfolk anticipate Claire’s return might herald new prosperity. She duly arrives accompanied by an odd entourage. It comprises the two witnesses (Koby and Lobby) who had been bribed to speak against her in her trial, both now completely subservient to Claire and who are now blind (like Justice herself?) In the party is the former town magistrate, Bobby, who delivered judgement in that trial and who serves as her personal butler. Claire’s lover Pedro, passionate fisherman and next husband to be also tags along and her pet panther, unloaded in its wooden crate, completes this strange travelling group. Yes, there are definite elements of the Absurd hovering within! The purpose of Claire’s visit to her home town of Gullen is to present an outlandish proposal to the townspeople in order to seek retribution for treatment dealt by them to her twenty five years before. The specific target of her planned revenge is Anton Schill the father of her child, a daughter, who lived but one short year.
In the first act the townsfolk gather up on the railway platform for their visitor’s arrival but thereafter director Elliot has much of the rest of the play, with the exception of the final “trial”, performed at floor level with a step up rostrum as a central point for the action. I thought this performance decision was successful and worked well. Much of the action is underscored by a soundtrack devised by Shane Carr. This was mostly well placed and complemented both the changing mood and texture of the script. However I found it a little intrusive at times particularly leading to the play’s denouement where it became just a tad too noticeable. A little less I think equals more. Overall this opening performance was good but like many first night efforts it lacked pace at times as well as a consistent cast commitment to crisp line delivery and timing of dialogue.
Doug de Souza’s Pedro (who seems an odd choice by Claire as a next husband) has a penchant for wandering on stage proudly presenting his most recently caught prized pike. De Souza is well cast and lends an exotic air in this comic relief cameo. Annelise Fuller as Koby and Felicity Stokes as Lobby were in effect Claire’s Greek Chorus. Virtually enslaved and blinded as their seemingly harsh punishment for bearing false witness, they play off each other very well. There’s a tangible hint of the Witches from “Macbeth” as they cavort and portend the outcome of their Mistress’ visit. Both Fuller and Stokes inject admirable and physical energy into their performance. Their delivery and attention to timing is notable throughout. Bobby the butler, Rob de Kok, reminded me of one of the Spy vs Spy characters in yesteryear’s “Mad” magazine. He is a dark and menacing character destined to bode no good which is a nice irony considering his former life as a magistrate and hence guardian of truth and justice. I thought de Kok needed just a touch more menace and sharpness injected into his vocal pronouncements in order to complete his imagery. Matthew Chant as Policeman Schultz spoke up and out to his audience in a worthy performance. His confident and relaxed stage manner worked to his advantage. Elisabeth Entraigues was quietly spoken yet projected an obviously respected official as the town mayor. A well crafted and consistent performance. And as the Professor and sole defendant of Anton, Laura Tregloan was convincingly passionate in presenting her case for reason and mercy. I thought she was a standout in both the acting elements of vocal enunciation and projection.
Erin McAllister gave a finely tuned and balanced performance as Claire. She carried herself well and her stage manner coupled with her vocal delivery was clear and consistent. She made it patently clear she was intent on one outcome only. Her rare and fleeting tinge of sadness and regret was admirably crafted with nuanced subtlety. It was a fine performance. Nic Betts as Anton also held his emotional demeanours well throughout. His gradual slide from confident and affable businessman into a resignation of an uncertain fate was both well conceived and expertly conveyed to us. On the odd occasion Betts, as did other cast members, lost his rhythm slightly but his admirable concentration served him in good stead in order to recover his pace of presentation and delivery. He will no doubt be cast in many future roles of substance, and deservedly so. It was an excellent performance. And so it was from all on stage. As I commented at the start of this review, it was an interesting offering from Blackwood Players. Very interesting!
