Present Laughter (ACT Hub) - Review

 

"I'd no idea you were like this. You're wonderful!"

Pictured, from left to right: Roland Maule (Michael Cooper), Garry Essendine (Jarrad West) and David (Callum Doherty) in ACT Hub's Present Laughter. Photo by Jane Duong.

Between this production and REP's Blithe Spirit in May, Canberran Coward fans have been spoiled by the amount of wonderful productions his work has seen so far this year. Present Laughter, like my previous Coward experience, is a classic farce, but one that escaped my attention only until I heard it would be brought to us by the folks at ACT Hub. After some quick familiarisation, I was very eager to catch this one too. Having almost missed the season in its entirety due to a busy June schedule, I was able to slink in and catch this show before it closed last Saturday, and needless to say, I'm glad I caught it; this is one of the best comedies on offer by the Canberra theatre community this year.

 

Karen Vickery has directed this show superbly (though it is hardly surprising). There is an attention to detail I love to see in shows wherein conversation rules the page with an iron grasp, and Vickery showcases a masterful attention to detail; every character is pulling some kind of face, or fiddling with some kind of thing, or otherwise committing to some kind of action, and it makes it impossible not to be actively engaged by the comedy of this show as it moves. Funny lines are all well and good, and are certainly capable of eliciting a response from the audience when delivered well, but these characters are in discussion with each other, rather than at. As a result, Vickery’s direction brings out a tangible boobery of the show via the often hilarious reception by characters of the foolishness they are equally forced to endure throughout the show's run. The show's pacing is also exceedingly deliberate, knowing just when to drag out a bit long enough and fully relish in those cackles from the audience. There is also a refreshing amount of changes to the source material through gender-bending the roles of Henry and Daphne, and shifting Garry's abroad trip to Australia rather than Africa; the former is well justified given the respective performances offered in those roles, and the latter is a fun, consistent running bit that only added to the show's tone. It is also indicative of a desire by both director and the performers not to stay too wooden with the script's instructions, with the closing night performance especially having some very welcome moments of improvisational brilliance.

 

Vickery's cast is thoroughly stacked with some of Canberra's finest talent; it's almost unfair just how good this cast is, with almost every member getting at least a couple of opportunities to snatch the spotlight and get the audience cackling. The centerpiece of all the chaos, Jarrad West offers an ostensibly fabulous buffoon in his performance as Garry Essendine. West is cartoonishly expressive, from his disbelief when others have the impertinence to criticise him, to his histrionic wallowing at the slightest moment of dissatisfaction. During these moments of melodrama, West also showcased how wonderfully reactive he is as a performer, with his masterful slow turns absolutely cracking up the crowd. 

 

West is matched blow for blow by Crystal Mahon's Liz, who wields a subtle control over every room she walks into, often reality-checking every one of her fellow high-class nitwits with the driest of retorts. Mahon also demonstrates a hilarious "facepalm" of a personality, as her constant attempts at control are foiled by the sheer absurdity on display by the idiots around her at every waking moment. Michael Cooper is an absolute riot as Roland Maule, offering probably my favourite performance of the evening. His cracked outbursts of moronic nonsense and stiff torso and head movements, contrasted brilliantly by his often flappable limbs, offered an unforgettable performance of absolutely wondrous character acting. Tracy Noble keeps her steady grasp on the rest of the nutters with her admirable turn as Monica, taming every explosive situation with a grounded performance that is comical in of itself, while also bringing an air of mischief as she steadily controls the chaos.

 

Amy Kowalczuk's Henrietta and Joe Dinn's Morris are a wonderful pair, as they work to undermine Garry's ego in service of his career, while also ending up emotionally entangled in the ensuing mess. Despite their brilliance together, they are also given equal opportunity to stand out and snatch laughs of their own, with Kowalczuk's explosive temper and Dinn's cataclysmic fits being particular standouts of their comedic temperaments. Karina Hudson is another standout comedic performer as Joanna, actively stoking the melodramatic flames of tension with her siren-like persona; a characterisation that is all the more hilarious when the consequences of her illicit behaviour renders her dis-empowered and subject to the nonsense of the rest, her grappling with which Hudson portrays with hilariously wide-eyed panic.

Callum Doherty's David is an absolute scene stealer, wielding miraculous control over his scenes both at play's beginning and end. His commitment to the ridiculousness of his role above all else allowed his comedic prowess to fully shine on stage, shamelessly hogging the attention of both Garry and the audience all for himself. Jenna Roberts' Miss Erikson was also an exceptional stand out, always keeping the audience on the edge of their seats with whatever new depraved information she had to impart throughout her visitations. Roberts' presence on-stage was constantly impressive, her unique physicality and dry tone offering a sharp contrast to the high-strung environments she often intruded upon, and her fascination with cigarettes offered often-amusing running gags to help keep the audience giggling. Leonidas Katsanis as Fred supports well with the most levelled performance of the pack, while bringing a noticeable air of cheek along with it that rendered his characterisation insanely likable and well-fitting amongst the rest of the cast.

 

The set by Karen Vickery and Michael Sparks suited the show's purpose marvelously, with ample entrances and exits for the coming-and-going antics of the show, remaining lavishly dressed and populated by furniture, while providing performers the space to fully fly off the handle when called for. The props by Brenton Warren were particularly marvelous, the functioning hoover being an absolute moment of theatre magic if ever there was one. The sound design by Patrick Dixon and Neville Pye was simple, yet effective, with telephone rings and doorbells executed with precise timing. The lighting by Rhiley Winnett was superbly impressive in just how dynamic it was, providing a seamless presentation of the passage of time. And on top of it all, Fiona Leach and Jennie Norberry's costumes were exemplary; from unending wardrobes of luxurious gowns, to smudged fairy costumes, this play's got it all covered, and both Leach and Norberry nail every single item.

 

 ACT Hub's Present Laughter was an absolute riot from beginning to end. Like all good comedies, it takes the script not as a strict instruction, but as a set of guidelines which a cast and crew may infect with their own sprinkle of pizazz and charm; an approach Vickery and her team take great pleasure in embarking upon. With fun had by both performers and audience, it was an unforgettably hilarious night at the theatre, and it has successfully snatched the title of my favourite comedy of the year thus far; a title I feel it is unlikely to lose.