Arbus and West, MTC, Farifax Studio, Arts Centre Melbourne, Tuesday March 5th 2019
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"Arbus and West" by Stephen Sewell, MTC, is a good piece of speculative theatre, as the playwright imagines what could have happened as these two characters meet. The play needs some work but is a great first showing.
Broadway actresses will be chaffing at the bit to play these three fabulously rich roles.
Historically, Bob Dylan's "The Times They Are a-Changin'" lyric/quote, from the album of the same name, was only one month old when Diane Arbus says so to Mae West.
Oops, the script needs a slight revision, as Trader Joe's was founded in 1967 in the USA and was not around in November of 1964.
When the stage manager announced a two minute call and then a 30 second call Mae Wesr was preparing for her entrance at her dressing table. Ruby took her time to a fix Mae's red feather to her hair about 30 seconds after the 30 second call.
Ruby said her mother was 93 in Act One, and then said she was 92 in Act Two. MMM?
The relationships between each of the women fires up in different ways that creates tensions.
Without spoiling their entrances some famous men make a special guest appearance! Many audience members tittered at their entrance and exposition. Some audience members shrieked in realisation, while others naively contemplated their "back-lit" entrance.
Act Two is funnier than Act One.
In an article by Kerrie O'Brien on the MTC website is a Stephen Sewel quote "They got on like a house on fire... it was a fun event for the two of them but when West finally saw the photos she was appalled and wanted to sue for defamation because Arbus was an artist and she wanted to show the truth!" Sadly, West's response of being appalled and wanting to sue was lost, if non-existent in the production. More could have been made of this in Act Two, rather than West dismissing Arbus' death.
The time shifts were mostly effective by the use of the lighting and where the action was focused in Mae West's dressing room, or on the front of the stage, or when Mae West sang on stage
The finale is poignant and revealing as to how Mae West may have felt.
Direction by Sarah Goodes developed a good reading of Stephen Sewell's script. Sarah Goodes has also educed fabulous performances from the three fine actresses. She has also introduced us to two debut performances at MTC by Diana Glenn and Jennifer Vuletic. Why have they not been showcased at MTC is beyond me.
There is a depth to each of the characters that each of the three fine actresses have developed.
Diana Glenn as Diane Arbus gave us a warm and seductive performance as she tried to coax Mae West to reveal herself emotionally and physically.
Jennifer Vuletic as Mae West's assistant, Ruby gave a proper and stoically protective performance. At times she was a little stiff. I read this as is Ruby was steeling herself for the next revelation or the next encounter with either Mae West or Diane Arbus. Ruby's stiffness could be perceived that was the back bone to support Mae West. I liked how Ruby stood up to Mae West and spoke honestly. This won Mae West's respect and Ruby knew her place as the assistant.
Melita Jurisic paid incredible homage with her performance of Mae West. I have seen better imitations by drag queens, but Melita Jurisic became her believable version of Mae West including signature poses and characteristic vocal delivery. I particularly loved how Melita Jurisic captured Mae West's her eye movements. Ted Shawn would approve in his book "Every Little Movement". A movement consultant could have enhanced her moves for more accuracy as her centre shifted. (Refer Michael Chekhov "Centres".) I think Mae West's centre was in her brain as she realised that this was her main sexual organ, and she knew when and how to change her centre to the different parts of her body.
Set and Costume Design by Renee Mulder captures the glamour of Mae West's style. The corridor for her apartment and dressing room also works a separate stage area. The use of the two doorways to the front door and to her bedroom created completely different atmospheres. The central window framed the action with a stream of daylight that created its own tension between characters. This window also supported Stephen Sewell's writing by giving an ethereal and spiritual layer to the production.
The Chauffeur, while not being revealed, left the audience with questions about the mystery of this elusive character.
The script could be pruned as it became a little repetitive at times. The interval gave a sense of time transition. With refinement this script can be slicker, tighter and funnier.
"Arbus and West" by Stephen Sewell obtained an 8.5/10.
