It’s not often you get to witness a work that changes a theatrical landscape. Sometimes we see new and bright ideas come to life but with relatively little to no impact on the way we have seen theatre for centuries. We are almost used to seeing the spark fizzle, to see conversations die away - but Queensland Theatre’s production of Cost of Living has turned the spark into full flame.
Martyna Majok’s Cost of Living asks us what is the bottom line of love, and whether love is truly something that transcends boundaries, whether they be physical or emotional? The work itself is sharp, witty, and evocative - it uses dialogue and conversation in real time to ask these hard-hitting questions about love and our ability to love, without preaching to the choir. The story itself follows a crossroad of characters: John, a PhD student with cerebral palsy, and his new young carer, Jess, and Eddie, an older trucker who is caring for his wife Ani, who was left wheelchair-bound after an accident. The script itself is purely about conversation, the play needs no spectacle to explore these themes but still, the added depth and dramatic tension by the direction and technical team did wonders for the work.
Direction by Priscilla Jackman and Dan Daw was strong, although some areas lacked within the production. The script lends itself to scenes that chop and change, people who fly around the stage and weave in between set pieces but within this, moments sometimes came unstuck. The repetitive scene changes, repeating the same formula took away from the fast-paced action of the work and the stories involved. It also felt like there was an onstage struggle between physical direction and the writing itself. Limited time was given to the audience to just sit with the stories being told, to ask questions, and to ponder without having some on-stage moment of spectacle to take away from the writing. Although this was minor, the play flew in speed, and with limited time to stop, the play did not feel like it was two hours long. Despite this, Jackman and Daw utilised the realism of the work to integrate incredible set, sound, and visual elements alongside the brutally honest and raw performances on stage.
The set and costume design by Michael Scott-Mitchell was innovative and utilized to not overshadow the performances of the actors. Moving flats, a shower that sprouts from the floor, a moving bathtub, and a snow machine - considering how simple the script suggests the set be, the set design didn’t overstep at all and instead heightened the performances of everyone on stage. The costumes felt human, it felt like we were watching friends and family interact on stage which was precisely the point of this show. These are normal people living their normal lives, but it seems like a spectacle because we hardly ever see accurate representations of disability on stage, let alone representations that are informed and respectful. Supporting costume and set was sound design by Guy Webster who utilized brilliant tracks such as Just the Two of Us and Chopin’s Nocturne in E Flat Major to set the scene of this work. Webster also composed several transition tracks that helped keep the pace of the work effectively and added dramatic tension through heavy strings and fast tempo. Lighting design by John Rayment tied everything together, using light to suggest stage action and to draw attention to several actors in their own spotlight. The technical elements of this show, supported by the brilliant stage managers who darted in and out moving set consistently should be applauded. They truly do support this production.
The cast itself should also be applauded for their intelligent and insightful nature when responding to this piece. Dan Daw as John brought sharp humor but tenderness to his role on stage, assisted by a cold but sentimental portrayal of Jess by Zoe de Plevitz. These two actors together had incredible chemistry, it felt like the audience was watching two friends interact and banter as anyone would do. Daw and Plevitz played to each other's strengths and the script supported their humorous takes throughout the work.
Although the story of John and Jess felt unfinished as the play approached its end, the wavering impact of John on Jess’s character could still be seen as Plevitz delivered in her final scene. Phillip Quast as Eddie brought an incredible range of emotions to the floor, exploring the most intricate vulnerabilities of his character, and Kate Hood as Ani brought belly-laughing humor and sharp wit that was an incredible standout. Hood and Quast felt intimate, there was something so sincere about their interactions that brought so much life to their story.
This cast together stuck, they ‘got’ each other. Never crossing until the very end, their stories interweaved and felt present at the same time. Queensland Theatre should be applauded for its dedication to inclusivity and for including disabled actors in these roles. To see a performance like this, with such provocative questions thrown around every minute through the voices of not only Majok but Daw and Hood too gave so much more weight to this production.
It’s not often you see a work that you know will start a conversation, it’s not often you see a work that changes the Australian theatrical landscape - but Queensland Theatre’s production of Cost of Living has a pretty damn good shot of starting a wildfire.
Cost of Living performs at the Billie Brown Theatre until the 13th of July, tickets can be purchased here
Comments
Post a Comment