Reg Livermore in The Widow Unplugged; supplied
Reg Livermore is an Australian theatrical legend. A founding member of the Ensemble Theatre, he has starred in numerous productions that have shaped the Australian cultural landscape, including the ground breaking first local productions of Hair and Jesus Christ Superstar, and he was the original overwhelmingly dynamic and charismatic Frank N Furter in The Rocky Horror Show and led the cast of Barnum. And, not forgetting, the ‘Betty Blokk Buster Follies’ series of one man shows in the 1970s.
Expectations were high for this new play The Widow Unplugged, both written and performed by Livermore.
From the moment Livermore entered the stage dressed as a colourful clown, there was too much applause – from the get-go the audience gets a sense that this is a work that will divide critics and audiences. A sentiment confirmed on opening night at curtain call, as some audience members gave the show a standing ovation, while others sat there stony faced.
While Livermore’s performance itself was brilliant and charismatic, with incredible comic timing and great contact with the audience, he is hampered by the structure of the play and the script.
The problems with the show are obvious and seemingly snowball as the play progresses: the somewhat rambling structure and the outdated “jokes” that are not funny.
Livermore’s latest character is Arthur Kwick, whose award-winning performance in an Aladdin panto many years ago was feted. The magic of the theatre, and the wonder of theatrical history, is evoked and we learn of the struggling life of a jobbing actor. There are references to Olivier’s Richard III and Hamlet among others, and we learn of the Australian Tivoli circuit and the history and conventions of British pantomime.
However, once critics closed Kwick’s next comedy (the critic didn’t think it was funny – a sounding board that Livermore used to target theatre critics more specifically), Kwick never really worked again as an actor. He drifted until sick and homeless.
The setting for the play is what might be considered his final “curtain call”, playing the janitor/handyman in a retirement village. Real life and theatre merge. When an entertainment booking for the retirement village is cancelled, Kwick steps in to save the day – reprising his role as Widow Twankey, donning a voluminous bright pink crinoline hoop and pumped up curlers and wig.
This is where this production starts to unravel at a quickening pace. In Act 1 we meet and learn Kwick’s history and there is some gentle slapstick and comedy. However, in Act 2 when we return after interval and Arthur explodes onto the stage as the widow – a Chinese proprietress of a laundry in Mosman – the “jokes” that are told are unsettling and could be regarded as offensive, or racist.
Why was there mocking of Chinese speech? Added fake Confucius platitudes, MSG jokes, and references to eating dogs?And why the naming of Chinese food dishes while self-flagellating with human hair? It is quite politically incorrect. Livermore doesn’t stop there, rolling slapstick about the widow’s ample breast and making fun of aged care and the very genuine fear of living with spiraling dementia.
There was not a single moment of sensitivity. Humour … comedy… it is incredibly subjective. But comedy at the cost of another’s dignity is not funny.
Is it a form of parody? Commenting on it to make us consider the racist issues? If so, it doesn’t quite work and is most uncomfortable. There was also place-names and biting comments about various North Shore suburbs and people which seemed off-topic.
While theatrically Livermore demonstrated he could deliver a solo production – and that takes incredible guts (of which Livermore has built a career upon) – the show feels dated, misjudged and awkward.
Rating: 3 stars ★★★
Reg Livermore: The Widow Unplugged
Playwright: Reg Livermore
Director: Mark Kilmurry
Cast: Reg Livermore
Recommended for ages 12+
26 July – 1 September, 2018
Ensemble Theatre, Kirribilli
