Have I No Mouth, Broken Talkers, Merlyn Theatre, Saturday October 11th 2014

Have I No Mouth, Broken Talkers, Merlyn Theatre, Saturday October 11th 2014

Broken Talkers is a theatre company from Ireland that presented "Have I No Mouth" at the Merlyn Theatre, Coopers Malthouse as part of the 2014 Melbourne Festival.

We are offered a balloon upon entry into the theatre. There will obviously be some audience participation.  Interestingly enough no one blew them up prior to the show starting. Please take a balloon as I now regret that I did not.

"Have I No Mouth" is an emotional rollercoaster journey for the cast and the audience.  It can be a  challenging and confronting emotional work as it can raise personal connections in this very cathartic experience.  This play is so realistic in presenting a truthful emotional journey that I had tears rolling down my face within the first ten minutes.  It is tragic but there is a beauty within this tragic story.

The play is written and directed by Feidlim Cannon and Gary Keegan. Sound design by Jack Crawley and video design is by Kilian Waters.  Choreography is by Eddie Kay and lighting design is by Sarah Jane Shiels. Costume design is by Emma Downey.

Feidlim Cannon introduces himself to the audience until he obtains a response from the audience.  An immediate contract is established with the audience.  He has revealed himself right up front and expects us to travel on his journey.  He introduces us to his mother Ann Cannon and both their real life psychotherapist, Erich Keller.

We are shown an art video with glasses of Guinness and memorable locations.  It is a very personal journey that is being shared.

The very large space in the Merlyn Theatre has a table and two chairs centre stage.  There is a table of props stage right, a telephone that appears to be suspended in space, a table and chairs with microphones on stage left, a lone red microphone on a stand is also upstage right.  There are two white cardboard cut-outs of what appears to be children.  They have their back to us to later be revealed.  There is so much space between each of these area that I know will be filled with emotion.

"Have I No Mouth" is a magnificent piece of theatre that blurs the edge between documentary and theatre.  Isn't truth the ideal for actors to strive for?  You cannot get more truth than real people telling their story.  But to repeat this story at numerous performances requires delving in and exposing their inner truths. It is performed with such sincerity and warmth.

The psychotherapist, Erich Keller leads us into an exercise to prepare us for the experience.  This is a lovely segue for us to get into the experience that both Feidlim Cannon and his mother Ann had gone through. It heightens our sense of empathy and allows us to get closer to their journey.

We travelled with Feidlim and his mother on their journey of healing.  This show is a part of the healing journey.  Without giving too much away it is riveting story telling that uses many interesting devices.  At times Feidlim is reading transcripts of what his mother Ann had said. The cardboard cut-outs are revealed to be a young Feidlim and his younger brother.

One of the most powerful and emotional connections was when the mother covered the mouth of the cardboard cut-out of young Feidlim.  The older Feidlim was upstage at the microphone and he too covered his mouth asking the most personal question to his mother. He kept repeating the question as a child and not getting the answer he expects.  It was pure desperation of a child not understanding his mother's situation.

The psychotherapist stands behind Ann holding a sieve and snow flakes fall.  Christmas and snow falling are important visuals to the story and to memory.  Most audience members would be able to relate to something significant that has happened in our own lives at a Christmas in years gone past.

Later during an important phone call between mother and son, the same effect with the psychotherapist standing behind (Feidlim this time) holding a sieve and snow flakes falling.  These visual clues assist us as an audience to remember significant emotional moments in the story.

During "Have I No Mouth" the psychotherapist Erich Keller asks the audience to stretch their balloons and then to blow their anger into them.  He demonstrates how we can burst our balloons as if an explosion of anger or we can slowly release our anger from our balloons. As I did not have a balloon I went through the experience as if I had a balloon.  I had a regret that I did not accept a balloon.  But then regrets is a part of the process of grief counselling and healing.

Feidlim is trying to understand why his father had taken photos with him always to the side of the photo and the rest is empty space.  This sequence is so emotional on many levels.  For me the unanswered questions that we wish we had asked some one who has passed away. It could also be the missing link between Feidlim and his father. It is another example of regret.

Sadly a mobile phone vibrated and got louder and louder during the show.  I cannot understand why the person did not immediately turn it off as it completely destroyed the atmosphere in the whole theatre. That is why phones should be off, not turned to silent.

It took a few minutes for the audience to settle and to return to the previous level of connection with the show. 

At the end of "Have I No Mouth" balloons were released.  This was a symbol of healing and releasing.  It was such a shared experience and also a celebration to be allowed to enter into Feidlim and Ann's very personal journey.

This was a wonderful experience and I shall cherish the memories forever.  Thankyou Melbourne Festival and Broken Talkers for this magnificent piece of theatre. "Have I No Mouth" speaks volumes is such an emotionally riveting way.

An aside:

The Malthouse Theatre complex used to have a visual sign stating "Turn off mobile phones prior to entry" at the entrance to each theatre.  These have been removed for some reason.  An announcement was made fifteen minutes prior to the show starting to say that mobile phones need to be turned off prior to entry.  This was too early as people were still arriving. Or, they should have repeated the announcement.

No usher said anything to any patron using their phone in the theatre.  Why then make such an announcement at all?

Overall this production gets an 8.5/10.