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My Sister Violet Director: Glenn Hayden Urban Myth until 29 October The writer of the production notes is far too modest in suggesting that 'My Sister Violet' offers no answers to those afflicted or affected by Attention Deficiency Hyperactivity Disorder (ADHD). Having no previous experience with this condition, I certainly walked out of the theatre with some sage advice on how a shift in perception can go a long way to assuage the symptoms, and I would suggest that this work is a must-see for anyone with this requirement. Playwright Sean Riley is busily pumping out the plays. Was it only last August that I saw the world premiere of his latest play - short-listed for the 2004 Patrick White Playwrights Award - 'Significant Others'? 'Beautiful Words' - while short-listed for the same award, won the 2004 Jill Blewett Playwrights Award - will premiere next year, as will two other plays. You slide down Dean Hills' towering curved space set and are plopped in an outback town like Kimba or Quorn. Widower Libby Flanagan has shipped out of Adelaide seeking a fresh start for herself and her teenage family comprising the hyper-kinetic Louis and his harried sister Violet. We join them during their first few days as they stress out - anxious that history will repeat itself and Louis will once more completely muck it up. Riley has created an exquisite and eclectic collection of characters that taunt and treat the newcomers. Emma Beech was impeccable as the impossibly patient school teacher while Rosemary Jackson playing the weary but hopeful mother dragged the first scenes with her nerves-bound delivery. Being an Urban Myth production, the stars of the show are, of course, the kids; the three catty school girls were uncannily authentic and most the others played toward some stereotypical extreme with amusing nuances. Camille Jenkinson as the eponymous Violet showed both remarkable maturity and ease on stage, and effectively controlled the action - after all, it was her story. Patrick Major's Louis was petulant, peevish, impertinent, peppy and often a perfect little prick whereas a perfect charmer in his good hours. If I can believe that he rendered a replica of the condition of ADHD, he did a great service to me helping me understand this complex condition. What makes this play successful is that Riley focuses on action - on what we can do if we find ourselves part of a Louis' surrounds. The Flanagans are fortunate in finding a family familiar with ADHD and we see how their insights are put into action. The teacher's understanding, a realisation of other's tribulations and an incident where covering up didn't work all hinted to Violet to forgive a grievous infraction, but instead of Riley presenting some schmaltzy reconciliation, Violet proposes a sensible plan forward that shows her transformation from living in her own world of victimisation to a world of working together with Louis' difficulty. Riley's play shows all of us how we can transform the world around us by transforming ourselves. Director Glenn Hayden and Urban Myth have whipped into shape a bunch of young teenagers and showed them the same thing. Add a superb Dean Hills set, colourful costumes, swift scene changes and David Gadsden's spot-on lighting, and you've got a special interest show of broad appeal.  |
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