Odette Galbally as Elizabeth Talyor and Bart Walsh as Rock Hudson. Photo: Pia Johnson.
‘We met shortly before filming for Giant began. I invited him to my home for a few drinks… …After that, he never called me Elizabeth, always Bessie. I called him Rockabye.’ – Elizabeth Taylor, Playing Rock Hudson
Perhaps most famously sharing the screen with Elizabeth Taylor and the late James Dean in George Steven’s film Giant, Rock Hudson eventually became an inadvertent martyr in the public perception of AIDS and helped prompt Taylor to embark on her lifelong campaign for funding and research. Following his death however, his former lover Marc Christian sued the Hudson estate for “intentional infliction of emotional distress”, for continuing to have sex with the young man even after his HIV diagnosis.
My first encounter with this informative Playing Rock Hudson was actually in January this year in a sold-out rehearsed reading at Chapel Off Chapel. Although it needed revising, what was presented was an intimate docudrama that took a realist approach to the text. So I had high expectations when I attended the Malthouse for it’s premiere. Sadly, I was a touch disappointed.
Why? Well, here we find an example of the risk a playwright runs when they decide to direct their own work. Although a very talented playwright, Cameron Lukey’s bold and brave decision to step into the role of the big boss only exposes his inexperience and as a result, the production felt somewhat one-dimensional. The decision to eliminate the reading’s original realistic approach and embrace a more Brechtian touch meant the blocking was awkward. At the same time, most annoyingly, the overuse of pauses meant the pace ran akin to a glacier. Although a fan of multiple character performances in stage plays, in this case the work became confusing as each character lacked definition. Why was Rock Hudson playing another character (Ron Channell)?
In spite of this, some actors gave strong performances with an excellent Shane Savage as Christian (and other characters) and the welcome return of Richard Aspel to the stage is a delight. Providing solid support is Andrew Carolane as Robert Mills/Michael and, naturally, Lukey has found a passive lead in Bartholomew Walsh who elicited sensitivity and dignity in equal measure.
Clare Springett’s lighting design was beautiful, contrasting deep blue/purples with brighter tones and highlighting the space for all it is worth. Costumes were detailed and stylish, highlighting character and a sense of period. The set of three blocks and several piles of Life magazines plastered with covers of Hudson however, looked dull and failed to support either the actors of the audience in highlighting anything about time or place.
Lukey is to be commended on his enterprise with producer Michele Bauer. Taking the initiative to produce a work independently with the current state of theatre is a real gamble, even if the gamble fails to pay off. Despite the multiple flaws, it is hard not to admire the tenacity. For this alone it deserves applause.
3 stars out of 5
Playing Rock Hudson
Written and directed by Cameron Lukey
Produced by Michele Bauer
Set Design by Ryan Foote
Costumes designed by Esther Marie Hayes
Lighting designed by Clare Springett
Stage Management by Rebekah Gibbs
Cast: Bartholomew Walsh, Shane Savage, Odette Galbally, Richard Aspel, Andrew Carolane, Nick Backstrom, Sam Lavery
22 November – 4 December 2013
Tower Theatre, Coopers Malthouse, 113 Sturt Street, Southbank
Bookings: http://www.malthousetheatre.com.au/hirer-events/playing-rock-hudson/
