This is my first time into the seedier part of East Perth, which bodes well for an entrée into a 17th century-style theatre performance of Playhouse Creatures, that is billed as part of Perth’s Fringe World but is very much away from the main areas of Fringe World in Northbridge.
Our small audience hovers tentatively in the fluoro-lit courtyard awaiting the call to enter the stage. This is definitely the intimate style of theatre performance, where the girls in their flouncy dresses and painted cheeks could sit beside you, stroke your cheek or even ride astride a patron’s knee during a particularly bawdy reference.
Written by contemporary English dramatist, April de Angelis, the play is set in 1669 after Charles II lifted the ban on actresses being on stage as part of the Restoration era (1660-1710). It is also referred to as a comedy of manners, as per convention for the more sexually explicit comedies favoured by aristocrats. This is the period renown for the first female playwright, Aphra Benn. Playhouse Creatures is feminist, without being dogmatic, and is brought to life through spirited acting (using the declamatory style), singing and witty writing.
Rhoda Lopez is a standout performer as Nell Gwyn – based on the real-life actress who became Charles II’s mistress – convincing with her ‘bad’ acting as she graduates from oyster-selling, her sweet singing and energetic performance. In many ways, Nell is the pivotal role that holds the other spokes together as she evolves into the King’s lover and receives gifts of home and horses (apparently ending her career on stage at the ripe old age of 21). Doll Common is a central character in the more negative sense, and is the helpmate to all. Claire Munday captures Doll’s contradictions and shackled life in a stunningly poignant and witty performance. When the two of them are reminiscing at the end of the play over the fire, the pathos of these women’s lives, who are prevented by making any individual choices (even if they are given gifts by a rich man) and relegated to ‘creatures’ who should be tamed as animals, is beautifully and movingly portrayed.
Angelique Malcolm marvellously portrays Mrs Betterton, who is finally dismissed from her central stage role by her husband in response to demands for ‘the flesh of living and breathing younger girls’. The shades of her character, which could be one dimensional, are intricately nuanced by this actress. Summer Williams also does an excellent job as Rebecca Marshall, both when she is holding the scene by herself and as part of the ensemble. Tiffany Barton who plays Elizabeth Farley (based on a real character who came from religious proselyting to the dramatic stage) is the weaker link in her individual set pieces, but in the ensemble work she certainly holds her own, and bears one of the worst experiences of actresses in those days of unwanted pregnancy followed by a descent into street sex work.
Partial nudity in the performance feels germane to the story of the plot, in particular the age-old story of how women use their bodies, and how they are perceived to be able to use their bodies. Playhouse Creatures is presented by HIVE – Her Infinite Variety Ensemble – an organisation who aim to provide opportunities for women in theatre. While this role seems regrettably still necessary in the 21st century, it is refreshing to see a group of women performing together; having fun, being smart and using nudity for the power of illustrating yet again, politics written on the body.
Rating: 4 out of 5 stars
Playhouse Creatures
Written by April de Angelis
Directed by Helen Doig
Stage Manager: Shirley van Sanden
Cast: Tiffany Barton, Rhoda Lopez, Angelique Malcolm, Claire Munday and Summer Williams.
Guild Studio, Claisebrook Rd
Fringe World
www.fringeworld.com.au
18 – 22 February
