Proof

Tugun Theatre is one of the coast’s original community theatre companies - dating back more than 50 years. It punches way above its weight and produces 4 very different productions every year, with very few financial resources.

This time round it’s David Auburn’s marvellous Pulitzer Prize winning play Proof. The proof of the title refers to the verification of a mathematical theorem - but don’t let that put you off. This isn’t a play about maths per se, it’s a play about family, and the intimidation of both madness and genius (so often related), and about trust and finding out who you really are.

Director Judy Neumann has chosen a stunning cast for this production, and the fact that she is American by birth means that special attention has been paid to the accents throughout. She has mined the subtext of the characters, and consistently pushes for the emotional truth of each scene. Her blocking is naturalistic and she clearly has an affinity for the play.

Phillip Victor plays Robert, an academic mathematician whose genius has pushed him into madness, placing excessive pressure on his children. Victor gives a nicely measured performance with great gravitas, and a nice contrast between the caring father and the selfish academic. He could afford to go even further in those scenes where Robert is totally deranged and show us the electrifying volatility and mood swings when madness and genius collide.

If Robert represents old academia, then Hal (impressively played by Tyler Leskiw) represents the new, and far less brilliant generation. This is only Leskiw’s second dramatic role and the leaps and bounds he has made in his craft are quite remarkable. No longer intimidated by the dialogue and theatrics, he gives a beautifully balanced portrayal of the young maths graduate who has come to terms with his own limitations. He is endearing in the romantic scenes and totally convincing in all respects. Look out for his name.

But, as is so often the case in casting here on the coast, it is the female actors who continue to impress the most.

Belle Powers lives up to her name as Robert’s older daughter Claire – a woman of some shallow mediocrity who chose to flee to New York rather than compete with the genius at home. She has tremendous stage presence and absolutely nails the character with her condescending air of judgement disguised (thinly) as sisterly love. But the actress understands the subtext, the mask hiding the feelings of inadequacy when you KNOW you are only ordinary. It’s a stellar performance and I’ll be looking for her name on the list of best supporting actresses in this year’s Golden Palm Awards.

And then there is Isabella Whitehead-Nagy. Where has this remarkable young actress been hiding? As Catherine, brilliant but timid, intimidated by her father and fearful of madness, and yet with the ego of self-belief simmering beneath the surface, she is totally convincing and owns every moment of her time on stage. It’s a very difficult role, but she nails it on every level.

The set design and build, by Darren Campbell and David Neumann, is excellent - down to the bookshelves inside the house which can only be seen through the window. Such attention to detail speaks volumes on all levels about this small but committed company. And of course we cannot forget the volunteers, all of whom perform multiple jobs.

I talked to young lighting operator Lucas Goodwin. It’s his first show and he confessed to being hooked. He hopes he will still be working in theatre in 50 years’ time.

Let’s hope that TTC is still here to help him fulfill that dream.

Coral Drouyn