Constellations

The Bakehouse Theatre has become an iconic cornerstone of Adelaide theatre history, and tributes are flooding in, both lamenting the loss of this unique black box theatre space, and reminiscing about the often ground breaking productions that have become treasured pieces of not just local theatre culture.

I believe that STARC Productions have, with their body of work, and their current play, Constellations by Nick Payne, created an example of defining acting and directing, perfectly showcased in this intimate, wonderfully accessible theatre space. STARC, named for their intention to choose plays that showcase fine acting and pared down, significant meaning - Tony Knight, Stefani Rossi and Marc Clement, supported by Lighting Design guru, Stephen Dean - deliver a 75 minute masterclass that challenges, informs, and delights. Knight, former Head of Drama at the National Institute of Dramatic Art, has lost none of his deft touch and it is patently obvious that this is a tight, collaborative partnership showcasing two of Adelaide’s finest and most disciplined actors.

Premiering in London in 2012, Constellations is cleverly designed and purposely allows the play to be contextualized. The audience loves the local references and humour that is created around this, and it is a great tool to enable audiences to relate to this complex, many faceted, multiple issue story. Written with sparse author directions, it is here that Knight, Rossi and Clement make this many-layered piece their own. The set is simple. A long folding trestle table and two chairs sit atop a square in which Science formulas create a carpet of facts. What is confronting is the very clear delineation between the two halves of the stage, creating a barrier that contains each actor and is only breached, as the story unfolds, for occasional moments of intimacy.

The story is described as a romance, but it is much more. Rossi as Marianne, is a physicist who holds the secret that gives purpose to the play and it is through her that we confront the notion of multiple universes that exist with, and without us; the notion of us living with time that is unchanged for us, but used in multiple ways by us. Clement is Roland, a beekeeper, and, interestingly, we discover that the role of bees is to support and nurture the Queen Bee, symbolically defining Roland and Marianne’s intertwined roles and relationships. The balance in Payne’s writing makes Marianne the driver of the story and Rossi seizes this with passion, gusto and pace. Having said that, at no time is Clement, as Roland, at all diminished. His discipline and unwavering connection to Marianne is a beautiful example of an actor totally immersed in character.

The Bakehouse brings the actors and audience closely together and Clement and Rossi harness this - making every nuance, breath, flickering smile and moments of desperate grief starkly real and apparent. We share Rossi’s gnawing anguish as her eyes glisten with unshed tears, and relish Clement’s impish wit and humour. Rossi is spellbinding. When she smiles and laughs, the audience relaxes. When she is taunted by her own impending death, the audience gasps and is silent, already caught up in her grief. One scene requires sustained use of Auslan, the sign language of the Australian deaf community. It has its own grammar and vocabulary and does not follow English sentence structure. It was flawlessly and reverently used by both actors, who, despite it looking like their everyday communication mode, was learned for these roles, an added commitment on top of complex, nonlinear and lightning fast dialogue.

The Bakehouse deserves to celebrate its indelible footprint with fine performances and as part of its final seasons, Constellations stands out as superlative, world class theatre. STARC are major contributors to innovative and memorable theatre and whilst they are moving from their beloved Bakehouse, have already planned a new production for later this year. I, for one will be lining up to see their next show, sure in the knowledge that it will be nothing but high quality theatre presented by a consummate team.

Jude Hines