Written by Rett Visser
Meet the Cemetery Club! Three longtime friends in their late fifties to early sixties, who are now also united by bereavement. Meeting once a month to visit the cemetery where their deceased husbands lay, their friendship and love for their husbands form the cornerstone of ‘The Cemetery Club’.
As in real-life, each woman is dealing with grief differently, as every relationship is different: Doris is struggling with losing the love of her life Abe, despite it being four years since his passing, Lucille is kicking up her heels and spending the inheritance left by the unfaithful Harry, and Ida misses her Murry but realises that she doesn’t want to mourn forever. When Sam, the widower meets the ladies whilst visiting the grave of his deceased wife, a shy attraction to Ida sees cracks in the friendships begin to grow.
Efficiently directed by Julie Neumann, the space was well-considered enabling the audience to feel like they were included in the conversation as the lady’s enjoyed tea and a gossip. The cast demonstrated a good balance of comedy and ethos, with knowing looks and well- paced conversation, two notable moments being their humorous discussion of aging and their slap-stick comic return from the perpetual bride ‘Selma’s’ wedding. A true ensemble piece, everyone had their moment to shine. The choice to undertake the distinctive but notoriously difficult Jewish New York accent was a sound and necessary directorial decision and the female leads undertook this admirably. It wasn’t always perfect, but it did transport the audience and added to the authenticity of the characters and the plot.
Sound Operation by Cassandra Dau included the classic “Love and Marriage”, but there wasn’t enough music. Scene transitions could have been assisted with some music or song to fill the time. Debbie Tanna’s portrayal of Ida was warm and vulnerable. With perfectly suited mannerisms and facial expressions, the inner turmoil of the mixed feelings of guilt for moving on from Murry tinged with the excitement of the first throngs of romance with Sam were written all over her face. Gai Byne’s portrayal of Doris, lost in her grief for Abe, gave a calm and anchored emotional weight to every scene. Comically contrasting them both was Cecile (Cee) Cambell’s embodiment of the predatory man-eater Lucille. Clearly having a ball in the role, Cambell’s physicality and over-the-top comic raunchiness enjoyed a knowing laugh with the audience. All the women were distinct, further evidence of the solid direction of Neumann.
Supporting the leads was Phillip Victor as the love interest ‘Sam the Butcher’ and the confident ‘Mildred’ played by Trish Nissen. Trish also designed the costumes, which immediately conveyed the characters’ personalities, from Lucille’s tight-fitting clothes (and fabulous red boots) to Doris’ conservative pearls. The bridesmaids’ dresses were a treat!
Keeping it in the family, the set was designed by Judy’s husband, Davis Neumann. The stage was divided into the larger space of Ida’s living room and a smaller section was the cemetery. Two patterns of wallpaper were cleverly used to transport the audience seamlessly from the cosy house into the tombstone laden cemetery, supported by appropriate lighting from Jasper Lee, without the stage change looking abrupt. Personal finishing touches such as the photographs on the piano added authenticity, whilst further reinforcing the emptiness of the house now full of memories. The ‘vintage’ dial telephone got a giggle from the audience (and questioning looks from those too young to have used them!) and was used to great comic effect.
The warm and friendly atmosphere of the Tugun Theatre Company was apparent upon arrival when patrons were warmly greeted and escorted to their seats by the director herself. There’s a real sense of community and family in this theatre company. Don’t be misled by the title, this is not a story about death, but instead a story of friendship, love and relishing life. This is a play to enjoy with friends.
Tugun Theatre Company’s “The Cemetery Club” by Ivan Menchell runs from 15 th – 31 st August. Tickets are available at www.tuguntheatre.org
Well written review.
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