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drinks Monday 2 June 08
DUBLIN ... Colman Higgins describes the scope and history of Dublin Gay Theatre Festival ... and reviews two of its shows ... Down Dangerous Passes Road ... Confessions of A Mormon Boy /// LONDON ... film on now ... La Question Humaine / Heartbeat Detector /// BRIGHTON ... It's on till 26 May and here's at least 20 Things you might want to know about Brighton Fringe /// PEOPLE ... Who was there at Fringe Report's First Monday 5 May - photographs & article /// CULTURE ... One Culture ... film screening 30 May booking now ... details
Tone Clusters
Verdict: Compelling murder drama
Edinburgh 05 - Bedlam Theatre - to 13 Aug 05 - 21:25 (0:45)
Tone Clusters is drama about a murder. It runs for 45 minutes, there's a cast of 2 on stage (1M, 1F) and one off-stage (1M).
Emily Gulick (Hayley Stoker), 51, and Frank Gulick (Mike James), 53 are interrogated by an unseen tv interviewer (Eric Wdowiak) about the murder and rape of 14-year-old neighbour Edith Kominsky. She's been found dead in their basement, at 23/68 Cedar Street, Lakepoint, New Jersey, America. Their son Carl has been arrested for the crime.
How, as the interview might put it, do they feel? Tone Clusters is the harrowing answer. The respectable couple in their homely clothes - post office worker (25 years) Frank in his cardigan, Emily in her mumsy frock - contort reality in a desperate attempt to make it conform to their central tenet - Carl must be innocent.
Carl's violence has been attested by his sister Judith - a misinterpretation, Emily insists. His pornographic magazines, with the genitals and breasts scissored out, have been seized by police. His work in a butcher's shop has been aired. The body was undiscovered in the house for 40 hours, while Carl acted normally. Emily and Frank must sell their house to pay lawyer Mr Philco's fees.
Tone Clusters is a taut study of disintegration. A decent couple who've worked hard see their world go wrong. The robins-egg blue of their house stood out in a neighbourhood that has betrayed them. They don't, realistically, have a future.
It's skilfully written as drama, with not a second of dullness, and a compulsion to listen to every word - to find out what's happenening. The script is a clever blend of exposition, and live revelation - the gestures of the couple, and the visible effect of their narrative on their well-being. The interrogation (by a live actor rather than a tape) is immediate, powerful - at times like a chat-show, at times like Guantanamo Bay.
Design and technique are used skilfully. Graphics by Mike James are magnificent. The actors face the audience, behind them is a vast wall of projection. Throughout the interrogation photos of their son, the victim, locations, their house, palm prints, and every item of forensic interest, is projected.
The graphics, and their timing, are stitched perfectly into, and contribute immeasurably to, the drama. A camera on stage trained on the couple, films the same view of them as seen from the audience. They are displayed on a tv set facing forward, throughout the play - a Mini-Me of the action.
Direction, by Jess Chayes is tight and immediate. She stages the action to perfection, and never lets the tension drop.
The performances are impeccable, compelling. Mike James delivers Frank Gulick with complete conviction - he simply is the troubled man, fitting into him like a glove. Hayley Stoker gives Emily Gulick the combination and intertwining of forces a mother must feel seeing a child that's come from her body edge towards the electric chair.
Their interraction is perceptive, from hand movements, to the dovetailing and contrariness of married life expressed in their talk. Individually and together they give off a tangible charisma. Eric Wdowiak gives a fine performance, unseen, as The Voice. It's a voice ranging from cajoling charm, to bullying, to contempt - a strong voice with evocative quality exactly suited to the play.
The script, by Jess Carol Oates was first performed at the 1989-90 Humana Festival, Actors Theatre of Louisville. It's tight, and skilfully written. Straight questions of a real crime begin to blend with scientific analyses of the structure of the universe and human condition.
Mainly, these are contained in The Voice's speeches (and at times are confusing as to the point being made). But there's a quirky section where Emily muses into a philosophical paragraph of her own. It's unexpected, and effective, and the very structure of the play - as well as its content - begins to drift towards a mentally dangerous instability.
Tonight's company use the existing script of Tone Clusters to produce a highly original and effective staging. They create a horribly compelling piece of drama. And show how a complete play can be done magnificently in just 45 minutes.
Cast Credits: (alpha order): Mike James - Frank Gulick. Hayley Stoker - Emily Gulick. Eric Wdowiak - The Voice.
Company Credits: Writer - Jess Carol Oates. Director - Jess Chayes. Stage Managers - Elissa Kozlov, Jeni Morrison. Producers - Jess Chayes, Elissa Kozlov. Music Composition - Scott Elmegreen. Sound Design - Elissa Kozlov. Video Design - Jeni Morrison. Graphic Design - Mike James.
END
John Park
reviewed Monday 8 August 05 / Bedlam Theatre
Fringe Report (c) Fringe Report 2002-2008
