The Bull, The Moon and the Coronet of Stars

This is not a photo from the production…I could not access any,

but it represents for me the theme of the play

Last night was my first night back in Brisbane since before Christmas. I was keen to get to the theatre. It was my first experience of watching a show in the new Benner Theatre at Metro Arts West Village, even though I had attempted to Zoom direct, from Sydney, the show How to Spell Love for the recent Brisbane Festival in the same space.  Like many of us I’ve performed often in the old Sue Benner Theatre across the river, so it was a great surprise to notice the similarities…small, intimate and delicious, something impossible to pick up over Zoom. 

 Congratulations and huge thanks to Jo Thomas, Gen Trace and the Metro team. The atmosphere was so nurturing. 

I met familiar faces, congratulated Gen Trace for her promotion to General Manager of Metro Arts (is that the same as Executive Director?), drank a cocktail at the new bar, hugged friends (yes, hugged. Who would have thought?) and met new ones.

Metro’s doors opened and I witnessed an intriguing play, The Bull, the Moon and the Coronet of Stars, written by Van Badham, directed by Heidi Manche (one of the hardest working theatricals I know), with Sarah Ogden and Rob Pensalfini playing Marion and Michael respectively.  Shenzo Gregorio was Musician/Composer, Sarah Winter was Set Designer (loved its simplicity Sarah!) and Christine Felmingham was Lighting Designer.    

Did I like the play? Some parts of the play held me close. The actors were very fine storytellers, beautifully complemented by Shenzo’s music, and they told their story with enthusiasm and verve, but I could not help think that they did some of the work the audience could have done. 

Speaking as a theatrical, opening nights of independent theatre can be horrid: there has never been enough rehearsal time and very few previews. It’s hard for performers to trust the material because they have only just started to trust themselves. With that in mind, I’ll share some of my responses, holding firmly throughout that these artists performed their butts off, so generous and so willing. And I thank them for that.  The set, lighting and sound were detailed and nuanced, a fabulous beginning of the new Hive Collective’s offerings…professional, smart, and lingering.

Parts of the script (which I loved after the first 20 minutes, particularly when the gods entered) had the audience laughing loudly at its ageless theme aided by the skill of the storytellers: girl meets boy, girl resists boy, girl doesn’t resist boy, and so it goes. Several women in front of me were even dancing along with Sarah and Rob. Ah, now that’s interesting. I didn’t write the character’s names. And that is exactly what was missing for me. I saw the storytellers clearly and together Sarah and Rob danced the dance so well, yet for me, their characters sometimes slipped away and the chemistry between them seemed, well, lacking for want of a better word.  All characters were lost in different ways, yet I did not feel their loss, though at the end, there were some exquisite moments.  The second half of the story was funny, sexist, sad, ageist and tender. The question is “should we feel in theatre, or should we think?” I like to do both. I want that catharsis, that sense of heart felt recognition, rather than just be swept up by the story. I need the second and third and fourth story that sits just under the obvious story line to be revealed. Theatre du Soleil’s Collaborative Theatre Source Book offers this: 

There are so many plays in a play. I’m a bit like everyone: first I read the first play that is apparent, then the second play, then suddenly I say to myself ‘oh my, there are still eighteen more! So let’s act!” (Mnouchkine, p. 121)

I think with a longer season the performers will unveil these hidden stories. When we have the luxury of longer runs, or repeat seasons,  plays have a chance to thicken, and becomes denser and more impactful. 

I’m still thinking about the play, and that is always a very fine sign. The Greek gods do that for me: they weave themselves into the lives of humans, providing both a path and a hindrance.  I recommend you go and see The Bull, the Moon and the Coronet of Stars and then talk to me about your experience in all its nuances.

I had a quick word with a very experienced theatre colleague after the show (before I slipped off home), and we had opposing views entirely…she adored the first story, not so much the second, whereas I preferred the second… I respond like this, and you respond like that, and both are legitimate…but what this exchange reminded me of was this: How many plays do we go and see where we do not even mention them in the foyer? So many, but this one…we talked deeply and fast. Must be good. 

CONGRATULATIONS HIVE COLLECTIVE

HEIDI, HEATHER AND KATE, CHANGING THE WAY THEATRE IS DONE HERE IN OUR TOWN

Congratulations Team. Congratulations Heidi and the new Hive Collective. To get a piece of work up, particularly in COVID, on the smell of an oily rag, well, I can only express enormous admiration.  And for this work to be memorable, well, you are well on the way. Independent Theatre in Brisbane has always thrived, despite its highs and lows. I have a feeling that the Hive Collective is a high.

Two more plays are happening in this Hive Collective series, with directors Heather Fairbairn and Kate Wild. I think everyone who was there last night will turn up again and again. These women mean business. And they love theatre. So I love them.