Toy Symphony
It was a pleasing beginning of light-hearted entertainment that later dived into a boring spiral of thought-provoking, emotional turmoil at last night’s production of Toy Symphony. And what was I thinking about – what is this nonsense?
Queensland Theatre Company & State Theatre Company of South Australia
Cremorne Theatre, QPAC, Brisbane
Friday, 13 November, 2009
It was a pleasing beginning of light-hearted entertainment that later dived into a boring spiral of thought-provoking, emotional turmoil at last night’s production of Toy Symphony. And what was I thinking about – what is this nonsense?
Act One, although confusing, was enjoyable with surprises around every corner. It was an imaginary world of fun that triggered excitement and laughter. Alexander the Great appearing from under the actors’ feet, and Antarctic warrior Captain Oates leaping through the window bringing a blizzard were definite highlights. Act Two was more despondent and perplexing without the entertainment to lift it.
Roland Henning, played by Chris Pitman, has writer’s block. However, it’s made clear early on this is no ordinary case of writer’s block. It’s something more self-indulgent than that. Henning is encouraged by a friend to seek help outside his own mind, so he goes to see a shrink. Psychiatrist Nina, played by Lizzy Falkland, takes more than an invested interest in his predicament and is brought to tears upon hearing his childhood memories. This absurdity speaks for itself. Spurred on by the intriguing childhood of Henning, the audience is taken into his fantasy world (or is it – he claims he has a gift?) of conjuring forth historical figures. While Henning fears his ability to write and imagine is completely lost, there may still be hope.
Essentially the production explores a writer who has turned in upon himself, daring to search his own brain and figure out how his creative mind works. However, it’s hard to sympathise with this troubled character. The sexually disturbed neurotic speed freak fails to inform the audience of why he is this way. The show suggests it is an autobiography, but unfortunately one that only the writer could truly understand. Gow has laid several intense personal struggles on the table to be judged in this story but he doesn’t reveal enough to explain what its purpose is.
But it’s not all bad. Pitman delivers a great performance as the intense and restless writer, dealing with issues he so badly wants to diagnose with his gifted way with words. Instead his analysis causes him to fall deeper into his own woe. The opening confession of his problems to Nina was long-winded and comical and Pitman handled wordy lines such as this with ease and fury. Daniel Mulvihill was a worthy artist to play the roles of Russian Nick, and aspiring actor Daniel. His delightful Russian accent was accurate and consistent, and the audience understood and empathised with his portrayal of Daniel. Ed Wightman was hilarious in a range of roles. Highlighted were the stern headmaster, dense footballer Steve Gooding and Henning’s child psychologist, Dr Maybloom. I couldn’t fault the performances of any of the cast, which was also made up by Barbara Lowing and Lizzy Falkland, but unfortunately this shining element of the production stood apart from the story itself.
Jonathon Oxlade’s set design was brilliantly clever with the ability to transform into a range of environments smoothly, along with many ingenious and surprising trap doors that created the imaginary world. This colourful and sometimes gloomy atmosphere was cemented by Brett Collery’s composition and sound design, and Nigel Levings’ lighting.
Audiences are either going to love or hate this one, but ultimately it takes itself way too seriously.
Bookings on 136 246
Until 12 December 2009
