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 | The American Dream Worldsend Hotel Thu 19 August, Season closed This is only Adapt Theatre and Film's second production, but already they are proving themselves a refreshingly creative and original group of young minds. In this production three distinct features have been integrated, making for an enjoyable evening of eclectic and imaginative consumption. The first segment, 'Today', consists of the presentation of a short film, created by honours student Ross Vosvotekas. We are shown in first person the fragmented events of a normal day. The piece has value in its unconventional nature; any expectations of a straightforward dramatic piece of theatre are thus quickly undermined. The next section, entitled 'The Reluctant Cannibal' after the Flanders and Swann song of the same name, is a Pythonesque sketch involving a wonderfully overplayed and ridiculous dialogue between a weedy son (Guy Bussenschutt) and his overbearing father (Trent Philips) who eats people alive - literally, in this case. Chas Fisher's sketch is well written and executed and consequently very funny, and effectively continues the theme of eccentricity. Most impressive, however, is their rendition of Edward Albee's superbly written 'The American Dream'. Most of the adaptation concerns choreography on the cosy, makeshift Worldsend stage, rather than dialogue manipulation, which shows a commendable humility from Adapt, who faithfully minimalise the 1960 play about the absurdities of American family life. The pacing is well measured and unhurried and makes for more comfortable viewing of potent satire that could otherwise be draining. The young, lively cast work their characters to the point of caricature, and in parts the resultant sardonic aura is perhaps excessive, but nonetheless effective. Most notable are Lucy Potter as the calculating and smooth-spoken 'Mommy', and Kate Hancock as the equally manipulative Mrs. Barker. Whilst the particulars of Albee's critique might seem irrelevant today, there is much that will remain relevant as long as modernism prevails. This final piece finely concludes an almost surreal evening of delightfully lucid satire. Whilst by no means an exceptionally revolutionary production, its experimental and unconventional nature is both commendable and refreshing, and the overall effect is a substantially enjoyable two hours of viewing.  | |
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