Switzerland, Melbourne Theatre Company. Sumner Theatre, Wednesday October 5th 2016

Switzerland, Melbourne Theatre Company. Sumner Theatre, Wednesday October 5th 2016

"Switzerland" by Joanna Murray-Smith was presented by The Melbourne Theatre Company at The. Sumner Theatre on Wednesday October 5th 2016.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.  I write for my memories of what I have seen, and is more of a stream of consciousness.

"Switzerland" by Joanna Murray-Smith is a one act play with three distinct scenes.  It uses the traditional three-act format to build tension and create resolution.  At times it felt didactic and a little over written.  The play also reminds me of "Sleuth" with the game playing and role playing.  I have seen many works by Joanna Murray-Smith and this had a predictable structure and ending.   Though I think some of the direction gave it away very early on with the first entrance of Sarah Peirse as the author Patricia Highsmith.

Starring Eamon Farren as Edward and Sarah Peirse played the author Patricia Highsmith.

Sarah Peirse's accent changed.  Her pronunciation of "New York" was more British than with the "noo" sound.  I liked her attention to the facial mannerism which reminded me of some female alcoholics I have known - with her lips and tongues craving the next drink.  Her hands did not grasp the glass in the way that I have seen many alcoholics grasp their drink.

Eamon Farren as Edward created the illusion of confidence and New York publisher assistant.  He played the charmer without being a sycophant.  He was meticulous in his research.  Maybe the moves were limited in case Patricia Highsmith was aware of any physical characteristics. Maybe it was a decision to suppress any obvious objectives. The telling move  - which gave the plot away was his lack of physical interest in wanting a seat.  This rang alarm bells with me and showed his pretence. He had just walked a long way plus he had travelled from Paris to Switzerland.   If he was so tired he would have physically moved a slightly different way trying to remain standing.  (Notice what you do when you need to sit down next time.)  It was only in the third scene where his objectives were revealed.

Directed by Sarah Goodes the production had a clunky feel to it, with one character speaks then the other speaks.  One character may move then the other.  It was a cat and mouse game, or a game of chess.  The structure to speak, move (or not to move), your line, your move was nauseating. Maybe this was intentional to build tension for us viewing.  The characters seemed to have no inner objective other than to say their lines and move to their respected blocked positions like a chess game.  The acting was a heightened stylised naturalism rather than naturalism.

The more I watched this play the more I felt it was manufactured and robotic staging.  It was only in the third section where-by the actions and moves seemed to resonate with meaning.  Maybe this was intentional again to show how the relationship between the characters had developed.

The snail pace of movement may have been intentional as Edward left his trail.  Or trying to hide his trail?  Patricia Highsmith played practical jokes on people with snails.  This snail pace of movement and the long pauses and extended stares added to the creepiness and disturbing aspect of their relationship.  Maybe this manufactured look was intentional.  Should we too be aware of a stranger coming into our home?

Michael Scott-Mitchell has designed the production with a wide living room and study that reminded me of "The Qualms".  The ceiling and the three windows provided an enclosed caged atmosphere.   The spiral staircase and the display of weapons (two guns and three swords/knives) gave a hint of the menace.

Lighting Design by Nick Schlieper provided the requisite focus to the set,  The blackouts were sharp and straightforward.  The new lighting created a time lapse.

Composer and Sound Design by Steve Francis creates a soundscape from the initial footsteps outside to music to stir and chill us.

Overall I thought this was a good production but not great and gave it a 7/10.

Note:

Before the show we went upstairs as we enjoy the view and it is usually quieter and less crowded. We went to the toilet and the stench as soon as you walked into the men's toilet was horrendously foul.  It was only the following day my partner mentioned the smell of the upstairs toilets and how it seemed to pervade the front of the theatre.  he thought it was the herbal cigarettes and we both realised the smell was far more serious.
I rang and told the administration at the MTC on this Thursday.  I was told "we are aware of the smell and do not know what the problem is."  I cannot believe this!  With all the money pumped into this company to build the Arts Centre Playhouse and the Studio (now called the George Fairfax Theatre) for their growing audiences.  I am disgusted that they now have this Southbank Theatre complex purpose built venue and with all of the technology and professionals involved they do not know what the problem is!  Maybe they will beg for more money from the government or patrons.  Look after and maintain what you have. I will not be re-subscribing until this is fixed.