Hyemi Shin Archives - thespyinthestalls.com

★★★★

“a brave and exciting revival that mixes gritty absurdism with precision-cut stylisation and outstanding performances”

When Sophie Treadwell’s “Machinal” premiered in 1928, the New York Times was so intrigued that it reviewed the production twice – calling it ‘a triumph of individual distinction, gleaming with intangible beauty… an illuminating, measured drama such as we are not likely to see again’. The Times described it as a play that ‘in a hundred years… should still be vital and vivid’. Well – here we are, almost a hundred years later and – yes – it is still vital, vivid; and individual. Richard Jones’ revival at The Old Vic will ensure that Treadwell’s legacy will survive another century at the very least.

The play is inspired by (rather than based on) the real-life case of Ruth Snyder who was executed in the electric chair for the murder of her husband. Treadwell’s narrative gives us a fictionalised backstory in nine distinct episodes which describes the chain of events that leads an anonymous woman to her fate. We are shown the different phases of her life and the people she comes into contact with. Rosie Sheehy barely leaves the stage during her extraordinary portrayal of this ordinary woman. A woman who never finds her place. Never finds peace. Driven to eccentricity; disturbed and constrained, but essentially tender and pliable while the life around her is hard and mechanised.

It is a highly impersonal world in which the characters have no names. As a result, they don’t attract much sympathy and while we are drawn into their expressionist world, we are not invited to have any emotional involvement. It is the rhythm of the piece that keeps us going along for the ride. Jones’ direction is as stylish and stylised as the writing, although he is just one cog in the machine. Benjamin Grant’s discordant, staccato soundscape chimes with Adam Silverman’s lighting that both punctuate and underscore the narrative. Sarah Fahie is credited as movement director, but choreographer is a more apt description. Even Hyemi Shin’s mustard-tinged, claustrophobic set seems to have rehearsed its movements in time to the clockwork dialogue and the pulse of the play.

Repetition informs the action, adding to the sense of unease and entrapment our protagonist feels. She quits her humdrum job by marrying the boss – a misogynist who regards his wife as a business acquisition, yet Tim Francis brilliantly manages to find a very likeable eccentricity to an otherwise despicably outdated personality. Unfortunately, she can’t seem to just ‘quit’ her marriage, which eventually leads her to the extreme measures of murder, having bizarrely got the idea from a chance remark made by her lover (Pierro Niel-Mee). The feminist message is somewhat sabotaged along the way. And we never quite understand her detachment, nor indeed her disproportionate, sadistic treatment of her nagging, potato-obsessed mother (a wonderfully colourful and funny Buffy Davis).

Although a few of the scenes are drawn out, the pace never drags. We might not sympathise, but we enjoy the absurdity immensely. It is another world but uncomfortably like our own. Although we can see Kafkaesque influences, it is almost impossible to believe that “Machinal” was written a century ago; and we are also reminded of those that Treadwell has influenced in turn. This is a brave and exciting revival that mixes gritty absurdism with precision-cut stylisation and outstanding performances.

Rice

Orange Tree Theatre

Reviewed – 13th October 2021

★★★★

“Michele Lee has created great characters and a compelling story”

Rice is Michele Lee’s enterprising two hander about women of colour trapped in the heirarchical (and blinkered) world of male dominated business in Australia. It has just opened at the Orange Tree Theatre in Richmond. It’s a co-production between the Orange Tree and the Actors Touring Company, directed by Matthew Xia. Despite the best efforts of all concerned, Rice is a play with a brilliant premise that doesn’t quite meet its promise.

Lee, who is Hmong-Australian, wanted to create a play that gave two actresses of colour a chance to play multiple roles—roles of “versatility and virtuosity and range.” In creating Nisha, (played by Zainab Hasan) an ambitious young executive hoping to rise in the Golden Fields rice company of Melbourne, and pitting her against the older Yvette (Sarah Lam), a cleaner of Chinese ancestry at the same company, Lee creates a situation fraught with cross cultural tensions both within and without these women’s lives. Hasan does not only play Nisha, an Australian of West Bengali ancestry, but shifts into a variety of roles, including Sheree, Yvette’s troubled daughter, and the white (and very privileged) son of David Egan—a man who is threatening her daughter with a prison sentence. Lam takes on an equally dazzling range of roles, including Tom Budd, an executive at Nisha’s company with whom Nisha has a brief and ill-judged affair; Graeme Hartley, a management “guru”, and Gretel Patel—who brings Nisha’s dreams of advancement to a crashing fall during a disastrous business trip to India.

The story of Rice is quite simple: Nisha and Yvette meet in Nisha’s office where she has been working long hours. Nisha is unhappy with Yvette’s refusal to clean her workspace to her liking. Yvette has very definite ideas about what she should be cleaning. But this clash between powerful personalities is about to become irrelevant in company politics—the Golden Fields company has just hired a management “guru” who is slashing and burning every budget he can find. Thrown together in mutual misery in a series of after business hours encounters, the women become friends. They bond over food, naturally—both Yvette’s home cooked Chinese dishes, and Nisha’s concern over her happy go lucky boyfriend’s food truck and his “khaki rolls.”

Two actresses, no matter how experienced or talented—as Lam and Hasan are—cannot quite pull off the range of roles in Rice, although dialect coach Catherine Weate has done sterling work with all the accents. It’s hard for the audience to keep track of all the characters that cross this bright, white stage in ninety five minutes of playing time. It’s to Lee’s credit that she has created such interesting and varied roles—it would be great to see a cast playing each role with a single actor. Similarly, the change of scenes in Rice would benefit from changes of scenery. Changing the lighting (again, even in the talented hands of Bethany Gupwell, the lighting designer) doesn’t quite do it.

A play with such a varied cast and complex settings (the scenes shift from Melbourne, Australia to Delhi, India) is a lot to pull off successfully in a small theatre in the round. The intimacy of the Orange Tree stage should work well in a two hander, but in this case, the set design is unnecessarily cluttered with a desk. This makes playing in the round quite tricky—every time someone sits down at that desk, the space is transformed from four into three sides, and the audience seated on the fourth side behind the desk have to grapple with the backs (or, at best, the profiles) of the performers. This happens too often not to be an unwelcome distraction. But the overwhelming feeling that remains after the conclusion of this production of Rice—is that this might not be a piece for the theatre. Perhaps the story would show to best advantage as an Australian indie film—the kind that has made Australian film making famous.

In Rice, Michele Lee has created great characters and a compelling story. But it needs the right environment to show to best advantage. Put together a bigger cast in the right medium—and this could be a classic.

MACHINAL at the Old Vic

★★★★

“a brave and exciting revival that mixes gritty absurdism with precision-cut stylisation and outstanding performances”

MACHINAL at the Old Vic

Reviewed on 18th April 2024

by Jonathan Evans

Photography by Manuel Harlan

Previously reviewed at this venue:

Machinal

Machinal

Orange Tree Theatre

Reviewed – 13th October 2021

★★★★

“Michele Lee has created great characters and a compelling story”

In Rice, Michele Lee has created great characters and a compelling story. But it needs the right environment to show to best advantage. Put together a bigger cast in the right medium—and this could be a classic.

Reviewed by Dominica Plummer

Photography by Helen Murray

Rice

Orange Tree Theatre until 13th November

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