Pope2Pope

What a coup for Hunters Hill Theatre and director Elaine Hudson to stage this Australian premiere by Shout and Dusty playwright Melvyn Morrow! And to have Mr Morrow in the audience on opening night! It’s not often that a community theatre company realises such a double ‘coup’ – especially one which might be considered controversial!

Not when someone like Morrow is writing! He brings a lifetime of theatre credits to his writing – not just musicals, but satires such as The Mavis Bramston Show, scripts for Sons and Daughters and opera tributes to Peter Dawson and Dame Joan Sutherland. For the stage his many works include Her Holiness, a collaboration with Justin Fleming about Mary McKillop, Australia’s first saint.

Much of Morrow’s work involves intense research. As well, Pope2Pope reveals an intimate knowledge and insightful understanding of the Catholic Church – and an irreverent sense of humour!

Morrow mixes both in a bizarre plot involving a discourse between a still-living “retired” Pope and a recently appointed Pope. The former, a liberal pope, fostered social change and (shock, horror) the lifting of religious restrictions. The new pope is reactionary – very – and sees his first duty is to ‘gag’ the lips of his predecessor. And there’s a further twist: the liberal Pope is Australian; the new Pope is African!

As you see, Morrow sets the stage for a confrontation – a confrontation that is fragmented, firstly by a series of “apparitions” including papal figures from ages past, an underworld figure, and a priest imposter. And secondly by cunning criminal intent … which will not be revealed here!

Elaine Hudson sets the play in a plush Vatican living room designed by Brent Thorpe. An enlarged section from Michelangelo’s “Creation of Adam” illuminates the scene. Rich scarlet is the predominate colour – providing a velvety contrast to the white and gold papal vestments.

A heavy, ornately carved lounge centres the action – the pontification as it were!

Graham Egan plays the liberal Pope Emeritus John XXIV. Christopher Brown is his nemesis, Pope Pius XIII. Both actors bring age and experience to the roles. Egan luxuriates in the cheeky mischief Morrow has gifted this pope. Brown uses rigidity and disapproving, dark eyes to layer his censure. Egan reclines on velvet cushions; Brown sits stiffly. The contrast is clear.

Sharron Olivier plays Pope John’s housekeeper Sister Angelica – who caused some gasps from the audience when she lit a cigarette – just the first of her ‘un-sisterly’ actions. Olivier makes the most of this impious nun and the innuendo in her lines.

Anthony Hunt, David McLaughlin, Catherine Potter and Anthony Slaven play various roles including four reporters watching for the ‘white smoke’ that signals the election of a new Pope. They also play the various “apparitions” that augment the veracity of Morrow’s take on papal history.

Potter appears as a curiously ‘un-named’ woman … and a famous author; McLaughlin as an irreligious past Pope – and Saint Peter! Anthony Hunt is both a tall, empowered Pope-of-Principles, supporting Pope Pius – and an ex-digger who was a POW on the Burma railway, where there was no priest to support the dying. Slaven flutters as a winged apparition from on high – and a demonic apparition from a much lower place.

All ‘appear’ at appropriate intervals in Pius’ litany of John’s misdemeanours – and with their words show Morrow’s acquaintance with religious history – and his sense of humour.

Hudson ensures both are evident in this production that will pick up a little more pace as the run continues – and both Popes become more comfortable in their Roles and Robes! The play is though-provoking without being too irreligious – and leaves one with the sort of satirical smile that lingers wishfully.

Carol Wimmer