Stage Whispers Review
I love a good puzzle, who doesn't? Galleon Theatre Group have chosen an ingenious play Hope and Gravity by Michael Hollinger for their May season that is a combination of Cluedo and a jigsaw puzzle and is sure to create conversation (maybe over a few drinks) amongst the audience at half time and at the conclusion.
The story is simple but the execution, creative. When an elevator crashes in a major city, nine lives intersect in surprising ways -- through love and sex, poetry and dentistry, in offices, homes, and hotel rooms. Hope and Gravity traces the barely perceivable threads that connect us all.
Each scene functions as a self-contained scene but is also a single piece of a large puzzle with the play's characters interacting on one level, with no idea that their lives are entwined with each other. Their lives intersect in surprising ways that are both comical and tragic.
There's a sense of adventure chasing this plot; it's always there somewhere ahead of you, and finally it reveals itself. The play features five talented actors, some in dual roles, as they lay out this story that happens in the past, or sometimes in the future, yet also in the present.
Director Kym Clayton sets his production in a kaleidoscopic set featuring an open playing space and the interior of an elevator ominously looming at centre back.
Each colour featured on the walls of the set is echoed on movable panels and furniture that frame each scene.
Clayton keeps the action flowing by choreographing the scene changes and using every centimetre of the Domain Theatre stage. He has carefully drawn nine completely different characters from five actors and extracted every nuance from the script.
His set design (with Trisha Graham) is complimented by James Allenby's lighting, Tim Hall's sound design & operation, Mary Cummins & Elaine Latcham's props, and costumes by Trisha Graham & Sam Tutty.
Dora Stamos gives us a world-weary potential fiancé, waiting for her boyfriend to find the direction in his life (Barb), and an idealistic student of poetry (Jill). I loved her reactions in the scene with Steve, when presented with an empty engagement ring box.
John Koch gives us Marty, the repairman who dispenses worldly wisdom, and Douglas, the English Professor, one of the victims of the elevator crash. His scenes with Steve and Jill trying to piece his memory back together using poetry are both hysterical and touching.
Mark Drury gives us Peter, the pathological liar using aversion therapy, and Hal who believes he has a rash on his chest that resembles the Virgin Mary. Both scenes are fun, all laughs and played with perfect timing.
Nathan Brown plays Steve with sincerity and honesty, ensuring that every laugh is nailed while still being true to the character. I particularly enjoyed the way he gently helps Douglas with his poetry.
Mari Nield gives us Nan, the school nurse who is having an affair and trying to juggle two lives at once, and Tanya, who's trying to get pregnant only to be let down by Hal who is supposed to produce a sample for her doctor to test. Nield plays them both earnestly, with just the right touch of comedy.
Hope and Gravity is the thinking person's play that will have you guessing, pondering, but most of all laughing.
Reviewed by Barry Hill
Theatre Association of SA (TASA) Review
In the ethereal realm of the Galleon Theatre Group's production of "Hope and Gravity," director Kym Clayton guides us through a tapestry of existential musings, skilfully crafting a kaleidoscope of profound insights and thought-provoking themes. With a set design that mirrors the intricate workings of the human soul, Clayton's directorial vision amplifies the philosophical depths of Michael Hollinger's play.
"Hope and Gravity" is a play by Michael Hollinger that explores the interconnected lives of several characters whose paths cross unexpectedly. The play consists of a series of vignettes or short scenes that are interconnected thematically rather than chronologically.
The play delves into themes of love, loss, and the unpredictability of human existence. It explores how small choices and chance encounters can have profound effects on people's lives. Each scene in the play presents a different set of characters and situations, but they all share a common thread of exploring the various aspects of hope and gravity in life.
Cleverly written to leave audiences drawing connections and piecing together the dramatic puzzle for themselves, the play reflects existentialist notions of individual freedom, choice, and the search for meaning. The characters navigate through moments of hope and despair, grappling with their own existence and the consequences of their actions. It highlights the existential struggle of finding purpose in a seemingly chaotic and unpredictable world, and the idea that seemingly insignificant events or encounters can have profound ripple effects on our lives, touching upon chaos theory, where small, seemingly unrelated actions can lead to significant consequences. This perspective reminds us that even the tiniest choices we make can have far-reaching impacts on ourselves and
others.
A very human play, "Hope and Gravity" delves into the complexities of human relationships, showcasing how our interactions shape our lives. It emphasizes the importance of human connection, the longing for understanding and forgiveness, and the profound impact we have on each other's lives. The play prompts reflection on the significance of empathy, compassion, and forgiveness in our interactions with others, exploring the fleeting nature of life and the transient moments that define our existence. It highlights the impermanence of relationships, experiences, and emotions. Through this lens, the play invites contemplation on the value of cherishing the present moment and embracing the uncertainty that comes with life's ephemerality.
Being such a human play, "Hope and Gravity" is best presented by actors with the ability to convey human emotion and invigorate real human characters, rather than performative facsimiles. The cast of this play succeeded in this difficult challenge overall, though with some diverting inconsistency. Nathan Brown's portrayal of Steve, the failing creative writing student, initially included a struggle with self-consciousness, which occasionally overshadowed the authenticity of his character. However, as the narrative unfolded, Brown's transformation brought forth sincere moments that resonated with the audience, particularly in his scenes opposite the captivating Dora Stamos. Their scenes, though challenged by inconsistencies in live connection, ultimately kindled genuine emotions and offered glimpses of the characters' shared vulnerability.
John Koch's comedic prowess breathed life into the production, invoking laughter that rippled through the theatre. With impeccable comedic timing, Koch brought levity to the philosophical tapestry, serving as an anchor amidst the existential swirl. Yet, it is worth noting that the absence of a consistent accent initially proved distracting, diminishing the immersion within the play's world.
Dora Stamos embraced her dual roles with conviction, breathing complexity into both Barb, the world-weary potential fiancée, and Jill, the considerate, idealistic poetry student. Stamos's performance carried a genuine sincerity, allowing the audience to empathize with the inner conflicts her characters faced. Unfortunately, the chemistry between Stamos and Brown appeared somewhat hindered, dampening the potential for their scenes to fully bloom.
Mark Drury's portrayal of Peter and Hal, while comedically virtuosic, presented characters intentionally designed to be unlikeable. Drury skilfully captured the essence of their unlikability, unapologetically embodying their flaws. His performances challenged the audience to confront the darker aspects of human nature, even as we chuckled at their absurdities.
Mari Nield's portrayal of Nan and Tanya, two not very likeable, but somehow sympathetic characters, showcased versatility as she conveyed the struggles of juggling two lives.
The choice to utilize wigs in the production, while logical in concept, proved a visual distraction. Their poor quality and overt artificiality detracted from immersion, rendering moments that should have evoked introspection sometimes comically theatrical. Similarly, this play could have been located anywhere in the contemporary world, including Australia, with a few minor modifications, which would have helped with occasionally distracting American accent blunders.
Clayton's set design, a true masterpiece, beckoned with its kaleidoscopic allure. The open playing space, juxtaposed against the looming presence of an elevator, invited contemplation on the transience of human existence. Each colour palette mirrored the emotional hues of the characters, amplifying the themes of the play. However, the transition between scenes lacked fluidity, as the practical decision to leave the lights up during changes disrupted the audience's immersion. A shift or obvious change in lighting during these transitions could have better emphasized the separation between scenes while preserving the overarching thematic continuity.
In its exploration of existential quandaries and the complexities of human connection, "Hope and Gravity" invites us to ponder the profound questions that define our existence. We are left thinking about the human condition and the fundamental aspects of being human, from experiencing an engaging examination of the universal experiences of love, loss, regret, hope, and resilience. By presenting a range of characters with different perspectives and struggles, the play encourages reflection on the complexities and vulnerabilities that make us human.
This production showcased glimpses of brilliance, notwithstanding occasional inconsistencies in performance, allowing us the opportunity to explore valuable philosophical insights that resonate with contemporary society, and challenging us to embrace the uncertainties and intricacies of our own lives.
The collaborative efforts behind the scenes further contribute to the overall excellence of the production. Set design, crafted by Clayton in collaboration with Trisha Graham, envelopes the stage in a mesmerizing kaleidoscope, visually echoing the complexity of the play's themes. James Allenby's lighting design, coupled with Tim Hall's impeccable sound design and operation, amplifies the emotional tones, creating an atmospheric tapestry that complements the director's vision. The props, meticulously handled by Mary Cummins and Elaine Latcham, and the costumes, curated by Trisha Graham and Sam Tutty, add depth and authenticity to the characters, enhancing the audience's connection to their journeys (except for maybe the wigs).
Within this collaborative endeavour, Clayton's directorial genius stands out, weaving together the creative threads with a deft hand and an acute understanding of the play's philosophical underpinnings. His profound intelligence, evident in the seamless integration of elements and the profound insights conveyed, elevates the production beyond its individual components. With Clayton at the helm, "Hope and Gravity" transcends the confines of the stage, offering a profound exploration of existential themes and their relevance to contemporary society. His direction invites the audience on a captivating journey of self-reflection, encouraging us to grapple with life's complexities and embrace the profound interconnectedness of the human experience.
As we exit the theatre, we are reminded that the path to enlightenment, both on and off the stage, requires embracing the flaws and vulnerabilities that make us human. "Hope and Gravity" serves as a poetic reminder that even amidst the imperfections, the search for meaning and connection endures, casting a flickering light upon the existential darkness that envelops us all.
Reviewed by Thomas Filsell
The Weekend Notes Review
You've heard of six degrees of separation, the notion that everyone in the world has connections with others in different places via a network of people who know other people. In Adelaide, we often joke that it is more like two degrees of separation, given the frequency with which we meet someone and find we have friends or acquaintances or even family in common.
Michael Hollinger's play Hope and Gravity, a South Australian premiere production directed by Kym Clayton for Galleon Theatre Company at Marion, compels us to embrace this notion with its non-sequential narrative based around nine character-based vignettes. It starts inside an elevator, where details of an elevator incident the night before are revealed, the narrative hook that connects the seemingly disparate scenes to each other.
Each scene is separate, whether in offices, homes, or hotel rooms, but each links a single element of one character's crossed paths with another. Given the unique tapestry of inter-connected lives on display, it is not a spoiler to sum it up by revealing that Jill longs for Steve, who's engaged to Barb, who hooks up with Peter, who's already having an affair with Nan, who's married to Marty. Meanwhile, Douglas, who teaches creative writing to Jill and Steve, meets Tanya who's hoping to get pregnant with Hal. The audience's challenge is to piece it together from the clues provided.
See the full review
Reviewed by Jon Cocks
