Presented by Human Sacrifice Theatre
Chapel off Chapel, Prahran
Reviewed in December
“Vintery, mintery, cutery, corn,
Apple seed and apple thorn,
Wire, briar, limber lock
Three geese in a flock
One flew East
One flew West
And one flew over the cuckoo’s nest”
(Traditional children’s folk rhyme)
Launched in 2006, Human Sacrifice Theatre is an ensemble company dedicated to presenting cutting – edge, thought provoking theatre.
Previous productions have addressed themes questioning social attitudes and conventions; another common link is the palpable male energy these plays seemingly exude. So far, their repertoire includes David Mamet’s Speed the Plow and Glen Garry Glen Ross, Sam Shepard’s The Late Henry Moss and True West, John Patrick Stanley’s Danny and the Deep Blue Sea, and Jez Butterworth’s Mojo.
The company continues this anti – establishment streak with their latest show.
First published as a novel in 1959, One Flew Over The Cuckoo’s Nest was written by Ken Kesey. In it, the author explored topics that at the time were considered taboo by conservative, mainstream America.
Set in a fictional Oregon State mental asylum, the book examined (and doubted) government – created guidelines, methods and procedures. Primarily a celebration of the human spirit, on a greater level Kesey’s study looked at the abuse of power these agencies yielded over apparently aberrant, left – wing behaviour.
Adapted by Dale Wasserman into a play several years later, it premiered on Broadway in 1963. (A recent production from Chicago’s Steppenwolf Theatre Company featured Gary Sinese, winning the show a Tony for best revival.) Soon, following President Kennedy’s assassination and with the Vietnam War crisis looming, both book and play built a strong cult – status with America’s disillusioned youth.
One Flew Over The Cuckoo’s Nest is mostly remembered however, for its iconic filming in 1975. Directed by Miloš Forman, the movie starred Louise Fletcher as the sadistic head nurse, Mildred Ratched and Jack Nicholson in his career – defining role, playing rebellious inmate, Randle P. McMurphy. A clean sweep of the Academy Awards that year earned Oscars for Forman, Fletcher, Nicholson, best screenplay for Lawrence Hauben & Bo Goldman, and best film.
The story centres on a psychiatric hospital ward, and the brash newcomer who attempts to turn the tables on it. Deflecting serious political themes with broad slapstick humour, the main characters’ plights and their day – to – day routines are given tremendous latitude, thought and depth.
Thanks to spare, insightful dialogue, it takes little time to be drawn full – force into their world. The boulevard of broken dreams is no more confronting when watching these deep – feeling men being destroyed simply for the amusement of people in power. Reinforcing Sartre’s theory that hell is other people, this version of Big Brother is the ultimate in reality viewing.
Human Sacrifice Theatre’s brilliant rendering will no doubt make audiences sit up with keen interest. Yes, it may feel jarring at first to diehard fans of the book, the play or the film. But, their new production is given a twist unique from any previous staging.
Without giving too much away, this version of One Flew Over The Cuckoo’s Nest has a distinctly local flavour. Crossing both cultural and race lines, here, Australia’s controversial history over tribal land rights, and as a convict settlement are given a powerful, firestorm shake down.
Ultimately, the strength of this show lies in its team’s commitment, and the ability to maintain absolute focus lasting two hours plus. Veteran director, David Myles, keeps the action taut, fresh and flowing.
In the pivotal lead role, Mark Diaco gives his McMurphy a livewire larrikinism, knockabout on the one hand and dangerously physical when provoked. Like Robert DeNiro’s Max Cady, from the movie, Cape Fear, his is an interpretation felt entirely in the moment.
Away from Louise Fletcher’s filmic reading, Natalia Novikova makes Nurse Ratched her own. With a disarming smile and clipped European accent, she could be in cahoots with Josef Mengele. Standing by a personal moral code, she is ultimately as much a prisoner as the patients. Thus, Novikova is the perfect counterpart to Diaco’s freewheeling rebel.
Colin MacPherson as Dale Harding, is a person trapped by the conventions of manhood. Guilt – ridden and obsessive, his need for direction, love and understanding have glued him steadfast. The actor plays through desperate rage and submissive frustration without fault.
Stan Yarramunua’s Chief Bromden inhabits a universe both omnipotent and alternate to proceedings. Defiantly silent for much of the show, Yarramunua gives his Chief a sense of hopeful triumph over adversity.
Justin Hosking steals the show as the stuttering, Billy Bibbit. Slowly gaining strength from McMurphy, his momentary sense of triumph is thwarted by Nurse Ratched, with tragic consequences.
Secondary leads include Silas James, self – flagellating as Cheswick; Adam Mattaliano, hilarious as the schizophrenic Martini; Richard Neal as the emasculated Dr Spivey; Kirk Alexander as political activist, Scanlon; with Josh Parnell and Greg Pandelidis as inept aides Warren and Williams. Ramona Von Pusch (Candy Starr) and Claudia Greenstone (Sandra) play McMurphy’s uninhibited hooker girlfriends with sexual aplomb.
Hannah Greenwood (as novice, Nurse Flinn) and Antonios Baxevanidis (as the lobotimized, Ruckley), round out an excellent cast.
A single set designed by Remy Le Beau & Sterling Sliver-Myles reinforces the strict authoritarian cloud hovering over the show. Thanks to their use of tiled white walls and a chess piece floor, this ward is the Snake Pit and Awakenings all rolled into one. Lighting by Lucas Silva – Myles effectively showcases the strong attention to detail.
Intersected with Chief Bromlan’s dreamlike narrative, Marsall White has created an innovative multimedia sequence of back projections. Keeping disruption of the narrative minimal, two scenes not possible on set has also been smartly pre – filmed and incorporated into the story.
Playing until December 11, Human Sacrifice Theatre’s important re-imagining is not to be missed, and will surely become memorable in its own right.
Image Source: Canberra Times