Picnic at Hanging Rock, Malthouse Theatre, Wednesday March 9th 2016

Picnic at Hanging Rock, Malthouse Theatre, Wednesday March 9th 2016

For those new to my blog I write about the holistic experience of attending the theatre.  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 also mainly write for my memories of what I have seen.

The new play "Picnic at Hanging Rock" has been adapted from Joan Lindsay's novel by Tom Wright. We saw this production at the Malthouse Theatre, on Wednesday March 9th 2016 and we practically ran out of the theatre screaming "Miranda...get me out of here."

"Picnic At Hanging Rock" at the Malthouse made us seething inside and we felt like Edith screaming and running down from the rock "Miranda, Miranda. Miranda." We could not wait to get out of the theatre. "Miranda, Miranda. Miranda get us out of here" It was an awful adaptation of the book and seemed to be a three hour production with its laboured transitions between scenes and it was only 85 TOO too long. Highly NOT recommended.

The best part was when three of the actors formed a triangle and raised alternate arms and then touched palms to create the most ethereal aspect of the production.  They did this sequence twice which followed after the shadow of the large looming tree at the back of the set.  The shadow looked like an alien space craft and together with their actions created some mystery to the production. Obviously this was the trigonometry imagery required to give visual weight to this lacklustre production.

Where in Joan Lindsay's book is the word "fuck"?  There is a sequence that defies logic where Irma returns and the other students want information and they attack her.  Irma of course rants "fuck" as one lady must do in Victorian times!

The opening created a shared descriptive monologue that foretold the doom of this production.  Each of the five actors shared the verbose opening.  Oh yeah I get it that the actors will rotate roles and not look like the characters at times. It would help when and if they would try and use some body posture to differentiate each of the various characters.

Oh no - let's just make it a radio play - like "Under Milk Wood" and use our voices to create the story.  If only this had occurred!  It would have been better to have read the book to us.

The production lacks focus, and is so confused.  Half an hour into the production and suddenly an actor appears in a man's outfit.  Why?  Why now suddenly use different costumes to create and differentiate characters?

Arielle Gray was the most effective when using vocals to create a male character.  She also used her body to create a male posture.  Though her writhing scene as Sarah was beyond comprehension. Vocally as Sarah she whispered her lines like a mouse and then suddenly found her voice towards the end of the play.  This was an interesting device to show her change in finding courage and her sense of identity.

Elizabeth Nabben's created a journey as Miss Appleyard.  Her diction was clear and precise though the accent lacked the precision of words like "room" and "noon" which were a bit strine.  Oh yes there is a difference for words like room and noon when using an upper class English accent compared with an Australian accent.

The other actors Harriet Gordon-Anderson, Amber McMahon and Nikki Sheils had their fleeting moments of glory, but due to the script and direction they were drowning with the material.  Sadly we were cringing as any semblance of rapport was lost between the characters as we quickly had to advance to the next scene change.  Sadly you could see the anticipation on their faces and in the breathing for their next line or action.  To stave off boredom I would watch their feet to see how they would prepare for the next line.  Oh yes one lady needed to rest her heel and calf at this moment or otherwise she may cramp!  Or I watched their breathing to see the anticipation in preparing for the next deep breath to support the next tirade.

Set and costume design by Zoe Atkinson had a modest set comprising of a large v shaped wall with a wardrobe upstage right. The carpet was the most interesting feature to keep me entertained as I watched where the foot prints were embedded into the carpet after each black-out.  This was so interesting as to ascertain where the actors and crew entered and exited for each "not too quick" scene change with thumping noisy sound effects to drown out any sounds.

While costumes were of school uniforms we then had to endure the confusing introduction of character costumes occasionally.  MMMMM we wondered "why some characters were being dressed in a different costume and not others?"  Another example to make us cringe.

Programmes were not available for sale until I asked for a copy at 7.10pm.  Finally the programmes were put on display.  This did not give a good impression of the Front of House staff.  Reading the programme notes gave away a hint of what was to come "The cast rehearsed with their eyes closed, and our backstage crew wear night vision googles during the performance."  Yes night vision googles not goggles!  Even Mr Google corrected "googles" to goggles in the previous sentence.  I think they mean "night vision goggles" and could not resist creating a link for them here!

The production was an academic discussion of the myth.  It was a drama school project gone wrong.

The lighting by Paul Jackson did not add to any mystery but further alienated me with the long black outs between scenes.  The best saving grace was the illumination of the tree hanging in the background as if looming.  The long black-outs reminded me of the days when the tabs would close in the theatre for a scene change with music playing to distract us.  The music created atmosphere but with the extended black-outs added to the fury we felt about the production.

The sound scape and composition by J.David Franze and Ash Gibson Greig reminded me of "Earthquake" with sensurround in the 1970s.

Oh yes I did read the director's blog (Matthew Dutton) after seeing the play.  Yes I have read the book and understand the significance of the gym scene.  But really do we need "fuck" in the script? Oh yes I understand now - "fuck" was used to help us run screaming out of the theatre like Edith.

This was not a memorable production and must be on the school curriculum as there were many teenagers in uniform at this performance.  The teachers will have a field day debating the book, movie and now this play.

I cannot wait for the musical or the "Forbidden  Broadway Picnic at Hanging Rock" send-up.  Tongue firmly in my cheek as I again scream for "Miranda".

For a more entertaining and informative piece - read the "The Solution to Joan Lindsays' Novel 'Picnic at Hanging Rock'?" by Brett McKenzie.  Your article made more sense than this ordinary production.

My partner gave it a 5/10 and then changed his mind to a 4/10.  I generously gave this production a 5/10.