Fairfax Studio, Melbourne Arts Centre
Reviewed on November 9, 2011
It has been said that life is a journey, not a destination. No more is this clear than in Return To Earth, the Melbourne Theatre Company’s latest production written by Lally Katz. Some of her previous plays are Criminology (co – authored with Tom Wright) Goodbye New York, Goodbye Heart and Waikiki Palace.
So far, 2011 has been a big year for the local playwright. Six of Katz’s works are currently in circulation around Australia, including The Golem Story, Neighbourhood Watch and Smashed.
Composed in 2006, Return to Earth has semi – autobiographical roots. Visiting her parents in their home – town of Tathra, New South Wales, Katz was 26 or 27 at the time. Though she had gone there to write, the young artist didn’t have any specific stories or creative goals in mind.
In a recent interview with Time Out, Lally talks about how five years ago she was playing around with her dietary intake, removing foods like wheat and alcohol. Away from that chemical buzz, Katz wonders if perhaps she was mildly hallucinating. Aided by her lateral artistic voice, the world around her seemed more vibrant, intense and brighter than usual. This point of view is abundant in Katz’s fresh, contemporary dialogue and writing.
Seemingly drawing on French absurdist theatre, Tennessee Williams’ American powerhouse dialogue, and the familial dynamism of Hannie Rayson, the strength of this MTC production lies in its ability to switch between realities. As the title suggests, Return to Earth is a multi – layered experience, digging from crust to core.
This is a show that one must witness in person to appreciate, absorb and comprehend the author’s intent. Directed by Aidan Fennessy (with assistance by Patrick McCarthy), reading words on the page alone aren’t nearly enough to get it.
A young woman returns to her home in rural Australia. She is a prodigal, and this arrival is completely unexpected. Putting her outback family emotionally off – guard, they nevertheless deal with their daughter as best they can. But, having already gone through the five stages of grief, there is an apparently calm resignation to their daily routine and the price of readmission. Cast as her sheltered parents, Julie Forsyth and Kym Gyngell play these requirements out to perfection.
A filmic construction underlines the protagonist’s place and motives in their world. Slowly unfolding in episodic snapshots, are we seeing events from her point of view, or is she being manipulated by a higher purpose? Present too are themes from the motion pictures Blue Velvet, Jacob’s Ladder, and Donnie Darko, where in each, a young man’s locale isn’t what it seems.
Written as a tragic – comedy, a sense of doom hangs background in the air. In the process of telling Return to Earth, several red herrings may or may not be dangled in front of the audience. The author allows viewers to take these clues, from anorexia, schizophrenia, cult deprogramming and chemical cancers, what they will. That the lead no longer goes by the name of Erica (but instead, Alice) reinforces her walk through the looking glass. The entire episode may indeed be a dream in sequence, turned inside out.
As Alice, Eloise Mignon has the massive task of communicating this sense of loss and rebirth full force. She is at odds impulsive, demanding, distant and withholding. Like a faulty light switch, the character flickers on and off at will. Playing off the other actors, Mignon is the glue keeping everything together.
Secondary leads Anthony Ahern (as Alice’s puzzled love interest, Theo) Tim Ross (her brother, Tom, with his own agenda), and Anne – Louise Sarks (former best friend, Jeanie) complete this circle of frustration and closure. Alice may look like the person she was, but as whom she no longer acts. One truly feels their fear, confusion, and sadness.
Costume and particularly set design by Claude Marcos highlight the otherworldly themes present. The stage is at once friendly and alien, studied on rotation. Lighting design and sound engineering by Lisa Mibus and Kelly Ryall respectively, complete the transformation.
Playing until December 17, Return to Earth is an acquired, but ultimately, rewarding taste.
Image Source: Melbourne Theatre Company