BWW Reviews: BEYOND DESIRE, a illusory low-pitched poser creation it’s universe …
November 27, 2014 - accent chair
Wednesday 25th Nov 2014, 7:30pm, Hayes Theatre, Potts Point, NSW
English Writer/Director Neil Rutherford’s latest production, BEYOND DESIRE, is a smashing square of low-pitched entertainment that draws a assembly into a well-crafted Edwardian epoch murder mystery. Rutherford joins with Kieran Drury (composer) to emanate a smashing story with many twists and turns to keep a assembly intent as secrets are revealed. It is a provide that this new work is creation a premiere during a insinuate space of Hayes Theatre in Sydney.
The expel of 8 smashing performers brings Rutherford’s work to life and total with Luther Forinder’s set, pull a assembly into a universe of a top category in England in 1911. A immature sheer, bullion fringed screen helps make fit use of a tiny space, permitting mutation between a beach in Sorrento Italy to a bedrooms of Dovedale Manor where many of a story takes place. The dim timber grate with vast overmantel frame, table and window frame, chest of drawers and doorway way, complemented by a lush loll and arm chair give a sense of resources and loftiness though absolute a space. These components have been deftly utilized to uniformly emanate other bedrooms and locations.
The costuming, sourced from Opera Australia, helps set out a epoch and a varying amicable levels from lassie Emily’s plainer work dress to housekeeper Mrs Milson’s some-more exuberant black operative dress and lady of a house, Louise’s late Edwardian day dress and her flashier sleeker dusk dresses suggestive of art nouveau statuettes.
Whilst Blake Bowden’s Anthony Pemberton is a executive character, all 8 performers are crafty both with their singing voices and their altogether performances and safeguard that nothing of Rutherford’s lyrics are lost. Bowden shows a pleasing change of emotions and patience as he moves from a loose college connoisseur and his vocals are a treat, relocating from peaceful caring ballads to burning annoy while still being transparent and precise.
Anthony’s crony James (Ross Hannaford) serves as support for Anthony following Edward (Phillip Lowe), Anthony’s father’s death. Hannaford’s description of James’ loyalty and support for Anthony while struggling with middle dispute deals with a doubt of who we should adore though being rude or preachy and is rubbed with sensitivity. Phillip Lowe’s Edward provides an endearing father figure that watches over his son with Nicholas Rayment’s lighting pattern assists in vouchsafing a assembly know who is physically benefaction and who is not.
Anthony’s mother, Louise is presented as a not accurately lamentation widow by Chloe Dallimore, dynamic to say a intrepidity compulsory of a lady of her Louise’s station. Dallimore gives Louise a “stiff top lip” with accurate posh accent and a claim character and beauty of a lady of a manor. George (Tony Cogin), Edward’s business partner and Louise’s new father is portrayed with a energy and prevalence of a male that has only hereditary a association and changed in on his friend’s wife.
Nancye Hayes’s description of a housekeeper and prepare Mrs Milson is delightful. As with a other servants, Mrs Milson has a rougher reduce category accent approaching from those next stairs and Hayes gives Mrs Milson a smashing voice filled with a knowledge of age complemented by comical earthy expressions and an accurate description of comparison staff. The maid, Emily is beautifully portrayed by Christy Sullivan who gives a purpose a poetic levity and carefree longing. The manservant, Syd (David Bulters) rounds out a hired assistance and provides a contrariety to a above stairs immature gentlemen.
The song is both uninformed while echoing a exemplary song of a epoch with a 6 square cover band manifest behind a set. The lyrics are crafty and concede a story to be told as exchanges as good as approach exegesis to a assembly with tones and styles relating good to a characters delivering them. All 8 performers have absolute singing roles and any accommodate a plea with a required tie to a song and pull a assembly in by not “singing to a exits” though creation eye hit with assembly when creation approach deliveries. Occasionally a sound levels on a band are set a small high, absolute a vocals and balances were practiced to safeguard that levels between singers in garb pieces were some-more consistent.
Through a murder poser that unfolds, Rutherford allows a accumulation of issues to be explored though apropos too assertive or rude about removing a supportive subjects opposite though never a less, exploring death, jealousy, hate, banned love, sexuality, adore triangles, extort and secrets and lies while stuffing a square with humorous dialogue, lyrics and earthy comedy.
Do not skip BEYOND DESIRE. It is a contingency see for anyone who appreciates a good square of good created and expertly delivered theatre. It has something for everyone, a smashing score, multilayered mystery, adore stories, humour and romantic twists.
19 Greenknowe Street
Potts Point NSW
21st Nov – 14th Dec 2014.
Photos: Oliver Toth