Lyceum Highway and Metropolis Monologues.

Lyceum Highway by KV Adams, directed by Brooke Fairley and Metropolis Monologues Showcase #1- ‘Til Death Do Us Part by Louise Hopewell, Snakes and Ladders by Donna de Palma, Off the Grid by Maree Collie, The Most Alive Part of Me by Peter Farrar, The Night Market by Gary Helmore.

Melbourne Writers’ Theatre shares some new and original writing in this double bill showcase. Although still in the experimental stage, the group exhibits some very talented writing and performing.

Both images above - Laura Iris Hill & Kevin Dee.

Lyceum Highway situates an unlikely couple on the open road; Maggie (Laura Iris Hill) gives a ride to G, short for Godfrey, (Kevin Dee). The vast expanse of outback Australia is cleverly suggested by the screened images. Here the pair form an unlikely partnership and bond. Maggie is a very damaged persona and as her tragic story unfolds a history of sexual abuse and domestic violence are revealed. Iris-Hill is amazing in the way she conveys Maggie’s pain. It is written across her face, it is clear in her demeanour and made palpable in her often quivering or angry voice. G is a more mysterious character, and Dee gives him a very naturalistic and humorous air which makes his presence entertaining. His more ethereal nature requires some elaboration, especially given the more spiritual quality of his role. The screened imagery of the highway is effective in conjuring up the road journey and contextualises their movements well. The dialogue is sharp and biting. This is a play that is not afraid to confront the long-term damage of the kind of violence Maggie has endured.

Metropolis Monologues offers five short vignettes related to an urban experience which complement each other well thematically. The Night Market is a very rich text with some powerfully descriptive language. This was very evocative but seemed challenging to transpose to the stage. Marc Opitz (pictured above) savoured the language well, but the depth and complexity of the imagery seemed difficult to indulge. The most alive part of me is a moving account of an ex-serviceman who worked in bomb disposal. The scene imagines his post-trauma therapy session. Both the writing and Amir Rahimzadeh’s delivery is very direct and honest. This creates quite a raw and engaging performance. Off the Grid has a great concept and Katrina Mathers makes the mix of delight and fear very vivid. However, the monologue is primarily directed to a companion dog, and this seems to limit the scope of the scenario. The motivation for the digital detox and going off the grid could be clearer or more powerful. Snakes and Ladder deals with the story of a cancer diagnosis and treatment journey. Janine McGrath’s upbeat delivery is well executed but does appear at odds with the more hard-hitting nature of the material. ‘Til death do us part is a tightly written piece of bizarre comedy and Nick Steain’s delivery captures the sardonic humour well. Although the story seems highly improbable, Steain (pictured below) adds an edge of ingenuousness that makes the premise both dark and funny.

Patricia Di Risio