Image by Sarah Walker
Ever wonder who the lucky guys were who got to decapitate a horse and plant its severed head into that Hollywood director’s bed in The Godfather? Probably not, but Damon Lockwood’s HorseHead delves into the story behind that infamous movie scene.
The plot revolves around two wannabe-gangster brothers who find themselves faced with a job that is completely beyond their perceived capabilities. They panic, argue, brainstorm, and finally get on with the horrific deed that ultimately changes them forever. Cue humour.
HorseHead has the potential to be excellent. The concept is clever and original, the script is tight, but the performances by the two actors did not quite match the quality of the play itself. The characters are intentionally exaggerated, and their interactions slick and well-timed, however they are also very one-dimensional and not at all likeable. Sam Longley is the more solid actor of the onstage duo, confident and boisterous, with a commanding stage presence and smooth delivery. His portrayal of the fearful, paranoid brother who instigates their involvement with the New York mafia is nicely done, and he certainly keeps the audience chuckling throughout the show. Sean Walsh is rather over-the-top with his performance. His facial expressions are unnatural and close to becoming melodramatic, which makes it difficult to relate to his character, and although he does have some humorous moments, many of his jokes fall a little flat.
The dialogue between the two brothers flows well, but it is somewhat repetitive in terms of the tone of the entire play; there is a lot of shouting and the characters both lack significant depth and emotional scope. The New York accents are also distracting; although they are completely necessary, they are overdone (intentionally at times, for a cheap laugh) and it is hard to take them seriously.
Notable highlights of the play include a short sequence of vignettes in which Longley attempts to brainstorm various ways to decapitate a horse, which were all quite hilarious, and the short moments just after the decapitation takes place, where the play becomes a bizarre amalgamation of drama and dark comedy.
The simple set with the garish couch as the centrepiece, the red and white lighting design, and the European-style background music enhance the New York gangland tone of the performance, and the horrific sound effects during the decapitation scene are hilariously awful.
The story of HorseHead is an interesting concept; those who have seen The Godfather (and even those who haven’t) know that the racehorse decapitation job is successfully carried out, but it is never really explained who was charged with completing this undesirable task. This play answers the questions about the famous gangster film that we never even thought to ask. The script is well-written and funny, and the direction is smooth, however the individual performances from the actors lack the complexities and vigour required to create a faultless and engaging piece of theatre.
Rating: 2 ½ out of 5 stars
HorseHead
Lockwood Productions
Written and directed by Damon Lockwood
Performed by Sean Walsh and Sam Longley
Set and Costume Design by Cherie Hewson
Sound Design by Steve Hearne
Lighting Design and Lighting/Sound Operator: Andre Van Vulpen
La Mama Theatre
Melbourne Fringe Festival
www.melbournefringe.com.au
1 – 12 October
