Reviews

Gripping. Tense. Hilarious. A sparkling gem of brilliant characterisation and vicious wit. This is one of those mind-blowingly great pieces of theatre that deserves a thesaurus of superlatives. Following on from their excellent productions of Playhouse Creatures and Summer of the 17th Doll, Pigeonhole takes Joanna Murray-Smith’s incredible script and applies Jordan Best’s incredible facility for flow, timing and nuance to create a breathtaking experience. At the centre of it all is the virtuoso performance by Karen Vickery as Patricia Highsmith.

Earlier this year, a valued and much loved member of the Perth community theatre community, 104 year old David Goodall, made international headlines when he travelled to Switzerland to avail himself of physician assisted suicide. In 1995, voluntary euthanasia was briefly available in the Northern Territory, and terminally ill Max Bell attracted similar media attention when he drove from Broken Hill to Darwin in order to die with dignity.

To say this production is a work of love would be to understate the concentration of experiences and diverse performance styles Aanisa Vylet has artistically fused “to smash the limitations of how female narratives can exist on stage”. Nor would it adequately explain the feeling of ‘family’ that radiates from the production.

The ‘Bi’, in case you’re wondering, means bi-sexual. That is what this show is about.  It’s explicit, graphic (verbally anyway) and not afraid to send itself up.  It’s a show delivered with such panache, such humour, charm and polish by three very talented women that it overcomes any resistance that might still be out there (in fact, that is its serious purpose), is hugely enjoyable and my audience – gay or straight – had a thoroughly good time.