Van Badham's adaptation of Angela Carter's The Bloody Chamber comes to the Malthouse directed by Matthew Lutton. Three large black boxes are spread across the stage and random notes emanating from harp strings fill the space. The pre-show hubbub dies down prematurely and the lights dim after a courteous message regarding mobile phones. Sounds and rhythm akin to an irregular heartbeat come from the stage and a solitary woman walks across the space and enters the centre box. What follows is one of the best visual sequences of 2013.
A mic'ed Alison Whyte deftly commands the Merlyn stage throughout the entire performance. She adopts with ease the mannerisms of all the characters she plays. The voice modulation utilised by Whyte when speaking the dialogue of the sinister Marquis adds an exciting layer to the performance. One aspect that is consistently jarring is the decision to have the stage managers obviously present. This “nuts and bolts” representation of theatre-making breaks the flow of the piece and leads to confusion when Shelly Lauman enters to play Jean-Yves, as until she starts speaking (and even after) her costume leads you to assume that she is a stage manager.
The work, nevertheless, builds tension wonderfully and deftly explores the many shades of violence and repression that exist within society past and present. For this alone it is a must-see.
Malthouse, Merlyn Theatre (finished).
