Review: AUS Premiere of THE WHALE Gives Hungry Audiences Something New at Old Fitz Theatre

It would be best not to use the phrase 'whale of a time' when discussing the potential enjoyment of Red Line Productions' 'The Whale' showing at Old Fitz Theatre. Chiefly because puns do not usually denote a refined critic. Rest assured, this one's a good one.

'The Whale' is less a "night at the theatre" and more an opportunity to step beyond your own wicked indulgences and start looking at something surprisingly new. The energy on the opening night, the thirst for independent theatre that has something remarkable to imprint on community consciousness was rife, and commonplace. What surprised this reviewer was that this thirst was thoroughly quenched by this tale of a morbidly obese gay man circling the drain with his friend and ex-wife while trying to set free two young companions who enter his life: one his daughter, and the other a misguided Mormon missionary.

If you aren't at all intrigued by the idea of accompanying a man dying at the hand of his addiction to both food and nostalgia, stay with me on this one because there's far more to be gleaned from this clever work written by American Samuel D Hunter. Director Shane Anthony delivers it sitcom-style which works wonders in the a-little-too-close-for-comfort Old Fitz Theatre. The intimate space charmingly designed by Charlie Davis provides the audience genuine voyeuristic revulsion at the goodhearted but ultimately depraved existence of Charlie, played distinctively and with superb nuance by Keith Agius. Although the cliffhangers built into the production might create inertia for and stunt the emotional swelling that could really transport the audience further for some, there was no stopping this particular audience from falling completely in empathy with Charlie's final hours.

'The Whale' questions our crutches, it splendidly suggests introspection, and directly implies the value of authenticity and vulnerability in the face of trauma. As Charlie comes to terms with the likelihood of dying, he seeks answers (not the kind you're thinking) from a Mormon missionary - earnestly played by Alex Beauman - who comes a-knocking during one of his degenerative heart episodes. Soon on the scene is Liz, a nurse friend whose dependence on him to validate her attempts to support and save him is doing as much damage as good. Liz is played to stunning clarity by Meredith Penman, giving a thoroughly relatable and bolshy performance as the hero we've all tried to be for a friend who needs us to ignore the problems, and just make them happy. Her final emotional turn is a highlight of the work for its freneticism and awakening.

It will surprise no-one who has seen the play that I think the character of Ellie alone is enough to make an audience member enjoy this show. Although her character is given the least extrapolation by the narrative, Chloe Bayliss plays it wholly and allows this barbarous adolescent shrew's emotional cues to echo in an outstanding performance. If there is a character to relate to, it's her; if there is a hope to be found in this play, for honesty and passion, it's in her.

It is of utmost importance that we who are willing to think critically about the theatre we invest in, on a conversational level, on an investment level, on a production level, are placing our bets in the stuff that takes risks to be new and be seen. Creating 'The Whale' was a four year journey for august producer Andrew Henry who saw it in the States, where the indulgence, self-absorption and poor health care would've given further weight (punavoidable) to the content. Casting it took over a season, Shane Anthony knowing that the heart of the story is in Charlie, a man we're all afraid to become on some level, not for his condition but for his loss of control over the things in life he dared to love above himself.

Firm genuflections must be given to Katelyn Shaw who wove significant depth to the piece, bringing themes above and below the surface of the action to allow the climax to be a beautiful realisation that needed very delicate handling which was gratefully achieved here. Alexander Berlage's lighting design gave crucial context and variety to the set, adding life to the stale air of Charlie's life. Finally keep a keen eye on the eminent Hannah Waterman as Mary: her delivery tells a far bigger story of those of us unwilling to drown in other people's pain - a message for many. If this kind of programming is indicative of the remainder of Red Line's sophomore season, then they'll be worth keeping an eye on for theatregoers seeking something worth talking about.

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