Pictured: Jo Morris, Ben Mortley, and Renee Newman-Storen. Photo: Mike Timmins
Finegan Kruckemeyer brings a compelling, interwoven set of lovers’ stories to the stage, challenging theatre makers with rapid changes between diverse locations. Director Adam Mitchell rises to the occasion and deploys a cunningly simple set, versatile costuming and actors willing and able to switch quickly between cheesy accents, with sound and lighting accentuating the subtle differences between scenes.
The intertwined narratives each have their quirky arcs, with stories including a French watchmaker’s search for an elusive woman ‘dropping letters on her way to the post office’, Russian submariners who put their emotions on hold while they are beneath the waves, a hilariously awkward blind date in Perth, an over-devoted work colleague, and a hillbilly date hunting rabbits in the snow.
The malleability and deceptive qualities of time feature throughout, but the real trick played is the way that each of the tales draws us in to make the performance fly past.
All the actors display great versatility in their various character portrayals, cheesy consistency in accent work and great humour – these performers love their craft and know how to make it look easy. Jo Morris is amazingly creepy as a stalker, yet bubbly as an observer-narrator, and then folksy as she waits for rabbits with her gun – which does, in Chekhov-approved manner, get fired. Renée Newman-Storen is a delight, moving from her sexily ditsy mademoiselle to brooding vodka-chugging intensity in the blink of an eye. Her role as Kirsty displays her total physical control and keen comic timing, Newman-Storen’s perfect delivery of excruciatingly funny lines a tribute to both actor and playwright. Ben Mortley makes the most of the intimate venue with the twinkle in his eye reaching all audience members to carry his cheesiest French accent and most whimsical musings on time. His comedic turn as the hapless Brian is fascinatingly re-framed, again displaying intelligent interpretation of a well-written script.
India Mehta’s costume design impresses with the amount of thought involved and works well on many levels – the stripes that work so well on a bicycle in France take on a nautical cast when dressed down for the submarine. Hats are simple, and performers work with their basic props with gusto, with primping and gurning everywhere. Mehta’s set design similarly impresses with its simplicity and versatility. One key turning piece plays its role as an Asian restaurant, the submarine galley, an apartment doorway, the watchmaker’s shop and a hunting hide, framing all action neatly. Attention to detail, with slight weathering patina on one side of the structure, avoids it appearing too clean and lends more credibility to scenes.
An impressive premiere of a play that will hopefully be seen many times again, with different responses to the script’s challenges in future incarnations. Those Who Fall In Love Like Anchors Dropped Upon The Ocean Floor is entertaining, thoughtful and thought-provoking, the best kind of theatre to go and see with friends.
Rating: 4.5 stars out of 5
Those Who Fall In Love Like Anchors Dropped Upon The Ocean Floor
Written by Finegan Kruckemeyer
Presented by The Blue Room Theatre, Jo Morris and theMOXYcollective
Director: Adam Mitchell
Set & Costume Designer: India Mehta
Lighting Designer: Chris Donnelly
Sound Designer: Ben Collins
Stage Manager: Kelly Edwy-Smith
Performed by Jo Morris, Renée Storen-Newman and Ben Mortley
The Blue Room Theatre, Perth Cultural Centre
11-29 November 2014
