|
 | Penetrator Waterline Theatre Director: Eddy Knight Bakehouse Theatre, Wed 18 May, Season closed The opening scene sets the tension which never leaves your bones until curtain call. An unidentified man (played by Nathaniel Davison), dressed in combat pants and a white T-shirt, is hitching a ride. The indication of cars going past is superbly rendered with incoming headlights and sound effects. In his head, we are embarrassed to hear his pornographic fantasy of a lone female driver. Suddenly the next car stops as indicated by the red glow of tail lights ahead. This was the best overture for a play you'll see in a very, very long time (Nic Mollison - lighting). Switch now to a cheaply furnished flat: a young man is choking the ferret until he's satisfied - he finishes off with the obligatory cigarette. Actor Nic Pelomis epitomises my stereotype of the stoner with long greasy hair, thick dark beard and trackies that all signal the lifestyle. However, his Max proves to be intelligent, loyal, insightful and compassionate. Max's roommate, Alan (Duncan Graham) seems more adjusted to his circumstances, and their long term flat-sharing is authentically established with inside jokes and well-worn song routines - which were a joy to watch. Enter, stage right, does the hitchhiker - proving once again that while two's company, three's a crowd. 'Penetrator' was written in 1993 by British playwright Anthony Neilson and it made him famous. Set just after the first Gulf War, Neilson says plenty in the short framework of the one act play about his anti-militaristic stance and the sources and consequences of misogyny and homophobia. His vehicles are a potent mix of psychotic behaviour, threats and violence, and childhood remembrances of homoeroticism. When I get so involved in both the emotional and contextual elements of a production it goes without saying (but I'll say it) these are three outstanding performances. Davison, Pelomis and Duncan just don't let you go with their brutally honest portrayals and synergetic interchanges; the only relief is when director Eddy Knight uses Neilson's black humour and comic breaks to lull you into false sense of sanity, and unfortunately, when the hitchhiker blocks out Alan to the audience's view in a vital scene. In this - their premiere production - Waterline Theatre with Eddy Knight as artistic director have established themselves as a purveyor of white knuckle theatre. Having seen all three plays presented so far in the Bakehouse's 2005 mega-season, I advise you get out of the house for this one and the rest, or there may be a knock at your door.  | |
The latest issue available now!     |
All content copyright dB Magazine