A Cheery Soul

Once again, Holden Street Theatres Inc. is presenting cutting edge theatre that few other companies would attempt. This is largely due the passion of director, Peter Goers and the indefatigable, brilliantly versatile Martha Lott, this time as the emotional bulldozer Miss Docker in Patrick White’s A Cheery Soul. They have put together an ensemble that the playwright has judiciously given juicy bits of dialogue, sometimes as pithy cameos, and at other times as sustained message bearers.

Australian novelist and playwright Patrick White sharply divided local critics. He explored themes of religious experience, personal identity and the conflict between individuals and conformist society and was the only Australian to have been awarded the Nobel Prize in Literature in 1973.

Debuting in 1963, and set in the late 1950’s, the play has at its heart, pint-sized monster Miss Docker, who mows a path through mythical suburban Sarsaprilla, looking for relationships that she can control, looking to take custody, looking for somewhere to belong. She is rejected from the well-intentioned and contented Cunstance household, is marginalised by the residents of the Sundown Home for the Elderly and finally can’t even find peace in God’s house, the Church of England. Finally, tragically, she receives God’s benediction as a mangy, cattle dog delivers her final bitter judgement.

All acknowledge that Miss Docker is a well-intentioned ‘cheery soul’. She tells them so, regularly, loudly and unapologetically. As Miss Docker, Lott’s mobile face slides from simpering care and concern to steely determination and finally in a beautifully lit close-up by lighting designer, Martin Smith, piteous, helpless tears. Again, Lott is a ‘master’ of her craft.

Sandi McMenamin as the elderly Miss Scougall, the Church Organist, is best known as a musical and cabaret performer, but in this play, demonstrates a real talent for acting. Her attention to detail, including nodding off judiciously when things are all too much, is delightful.

Catherine Campbell as Mrs Custance has an almost ethereal quality and compelling stillness in her portrayal of the perfect 1950’s childless doer of good deeds. She is mesmerising and totally believable. Sue Wylie and Jo Coventry provide a Greek chorus like element with carefully paced shared dialogue as well as moments of poignant humour. Both look appropriately downtrodden and frumpy, down to rumpled 80 denier half mast stockings and painful looking varicose veins.

The young minister David Arcidiaco, and his wife played by Jessica Corrie, are both tortured by Miss Docker’s relentless ‘helpfulness’. Both give strong, confident performances that expose their fragility and precarious nature of their relationship with the ragtag congregation, God and each other.

Goers has used a whimsical ‘sea’ of multi coloured crocheted rugs to create the set. Crocheted pieces are everywhere, including the minister’s vestments. Chairs, cushions, table covers, costumes and props use this unifying visual theme. It is unique, consistent and evocative. Less consistent perhaps is the careful use of well thought out mime by characters in the first act that transforms into real, concrete items, previously mimed.

The ensemble also includes Christopher Cordeaux, Robert Cusenza, Ron Hoenig, David O’Brien (somewhat confronting as Mr Anstruther), Amelia Lott-Watson and five ‘voices’, all adding dimension to the story, particularly Miss Docker’s reach and influence.

A Cheery Soul on the surface is satirical comedy. In reality, it is multi-layered and thought provoking.

Once again, Holden Street Theatres deliver great value entertainment.

Jude Hines