Review: The Question Of What Love Means Is Raised When A Volatile, Passionate Life Is Exposed In THE BITTER TEARS OF PETRA VON KANT

Thursday 13th October 2015, 7:30pm, Old Fitz Theatre, Woolloomooloo

Rainer Werner Fassbinder's 1972 German film THE BITTER TEARS OF PETRA VON KANT is given a new Australian update by Director Shane Bosher in a translation by David Tushingham. This contemporary interpretation shows the universality of love, desire, need, greed and ego as the intimate and intense work is still as relevant over 40 years later.

Production designer Georgia Hopkins draws the audience in to Petra Von Kant's studio apartment which at first glance could be mistaken for a theatre dressing room in its impersonal starkness which does however fit with Petra's (Sara Wiseman) diva personality. Costume designer Daniel Learmont further draws out the characters with his selection of styles to suit the personalities whilst still maintaining an overall aesthetic. Petra is somewhat severe in her power dressing and tight jeans whilst assistant Marlene (Matilda Ridgway) tiptoes in heeled sandals and a conservative but still stylish black dress as she tries to avoid drawing attention, possibly having being reprimanded for noise in the past. New distraction Karin (Taylor Ferguson) is first seen with the casualness of an "It" girl in an outfit that is not too dissimilar from Petra's daughter Gabrielle (Mia Rorris) and ends up in expensive designer labels more suited to a more mature woman.

For those unfamiliar with the story, Petra is a newly divorced, successful fashion designer living in Germany. She is every bit a diva, waited on hand and foot by the silent Marlene, who acts as both servant and personal assistant, as she wallows in self-pity. A phone call with her mother Valerie (Judith Gibson) indicates that she comes from money and is used to an extravagant lifestyle and a visit from her friend Sidonie (Eloise Snape) further cements the idea that she moves in extravagant circles. Sidonie introduces the young, beautiful Karin whom Petra immediately falls in lust with and we see love through Petra's understanding of the emotion which is all consuming, possessive, passionate and volatile.

As Petra, Sara Wiseman is brilliant in her expression of the rollercoaster of emotion that the controlling narcissist goes through. She has captured the stereotypical power woman obsessed with image and self care but oblivious or uncaring to those around her if they aren't satisfying her needs. Wiseman's expression of Petra's hysterical breakdown is captivating and shocking (and also raises the question of the risk assessment of this performance). She balances the Petra's sensuality with her underlying unhinged state and gives even the moments of being nice, a bite as we see that, she, and the rest of the characters save Gabrielle, each have their own dark side.

As Petra's love interest Karin, Taylor Ferguson captures the transition from doe eyed young woman being offered a chance to become a model to the opportunistic spoilt lover, staying around because she's being cared for. Whilst this dynamic is commonly depicted with older men and younger women, older women and younger men, it is not often shown as an older woman and a younger women, both of which had professed to be straight in the past. Ferguson's portrayal of the kept lover has the audience guessing as to whether Karin truly loves Petra or if she sees her as a meal ticket till something better comes along.

Eloise Snape provides some level of contrast to Petra's bizarre world as Sidonie sits on the periphery as another socialite but still being in a stable relationship, having the love that Petra needs but won't achieve whilst she still has a possessive view of love. Snape presents Sidonie as a follower of trends who never quite looks comfortable in them which adds to the tension between the friends.

Whilst Marlene remains silent throughout, Matilda Ridgway presents a nuanced performance filled with sullen looks and eye rolls of judgement. Her physicality is priceless, eliciting roars of laughter as she subtly draws focus as she sits finishing off Petra's sketches, typing out emails or fetching the numerous slate tile trays of things as ordered by Petra.

This 90 minute work which draws focus on women's relationships with each other is a gripping ride of emotions and last minute surprises. Whilst Fassbinder and Bosher don't necessarily ask the audience to feel sympathy for Petra, they elicit pity and understanding when she finally realises that her concept of love is warped and possibly not too far from many people's own demonstration, regardless of whether they are fully cognisant how they express their own love. THE BITTER TEARS OF PETRA VON KANT is another fine work to fill the intimate space of the Old Fitz Theatre.

THE BITTER TEARS OF PETRA VON KANT

Old Fitz Theatre

11 October - 12 November 2016

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