Set in Puerto Rican New York, this fast-paced, foul-mouthed comedy doesn’t gloss over any of the life struggles faced by its protagonists. Jackie is out of jail, on parole, and trying to get his life together with the support of his AA sponsor, Ralph, despite the distraction presented by his beloved girlfriend, Veronica. However, suspicion and temper get the better of him when he finds a man’s hat in Veronica’s room, leading to a chain of events and consequences that lead to Jackie making painful discoveries about himself and the people closest to him.
Austin Castiglione’s Jackie is the central character, tasked with maintaining the audience’s sympathies despite his character’s unconscious self-obsessions, wilful independence, his determination to ignore difficult truths, and a violent temper when confronted with uncomfortable situations. However, there were moments when Castiglione’s physical presence or accent work jarred with events on stage, the sudden disconnect of such instances highlighting the vivid portrayal achieved the rest of the time.
Kenneth Ransom as Ralph developed his hedonistic and morally ambiguous character gleefully, bringing a whole package of motivational speakers wrapped up in self-interest and the pleasure principle. The fraught sponsor-sponsee relationship between Jackie and Ralph was consistently unpredictable on both sides, intentionally masking the hilarious plot twists that marked a turn to a darker side.
As Jackie’s wife, Veronica, Rhoda Lopez impressed with a confident portrayal of a deeply flawed and troubled person who has embraced substance addiction and yet remains determined to make the most of life on her own terms.
The supporting cast – Fayssal Bazzi as Jackie’s short-tempered Cousin Julio, and Alison van Reeken as Ralph’s bitterly resentful wife, Victoria, who has the hots for her husband’s sponsee – both delivered nuanced characters with layers of personality and rich life histories, taking every chance the script presented to avoid becoming pigeonholed ‘types’.
Stephen Adly Guigis’ strongly-written dialogue sets this performance up for success, all cast members delivering the punchy lines with pace, precisely timed quips and delightfully random analogies. The laugh-a-minute surface gags were all the more effective for the darker underlying themes. Unfortunately, when it came to talking with fists, the main fight scene was clumsy. In a literal hit and miss display, the choreographed moves appeared poorly rehearsed rather than spontaneously wild; a missed opportunity for clowning or orchestrating a symphony of vengeance.
Black Swan’s WAAPA-trained technical team again exceeded expectations. The rotating set impressed, with close attention to detail in each of its three facets, as well as quick and smooth transitions. The lighting design was thoroughly planned and impressively executed, with stand out effects extending the perceived performance space. Highlights included long shadows from venetian blinds, and the play of light from a plasma television screen, which also set the mood. Sound was slickly produced, working closely with the action and exploring motifs from lo-fi cassette recordings to subtle atmospheric shifts.
Highly recommended for Fringe aficionados who also appreciate polished execution, The Mother F**ker with the Hat entertains from the minigolf in the foyer to the last bow before the house lights come up.
Rating: 4 stars out of 5
Black Swan State Theatre Company present
The Mother F**ker with the Hat
By Stephen Adly Guirgis
Black Swan State Theatre Company
Director – Adam Mitchell
Set & Costume Designer – Bryan Woltjen
Lighting Designer – Trent Suidgeest
Sound Designer – James Luscombe
Resident Fight Choreographer – Andy Fraser
Stage Manager – Michael Maclean
Performed by Fayssal Bazzi, Austin Castiglione, Rhoda Lopez, Kenneth Ransom and Alison van Reeken
Studio Underground, State Theatre Centre, Perth Cultural Centre
17 January – 3 February
Fringe World 2013
www.fringeworld.com.au
25 January – 24 February
