Transatlantic trauma
Cruise Control
by David Williamson
Ensemble Theatre
reviewed by Ben Oxley
credit: Ensemble Theatre
DIRECTED BY:
DAVID WILLIAMSON
CAST INCLUDES:
HELEN DALLIMORE
MICHELLE DOAKE
KATE FITZPATRICK
KENNETH MORALEDA
PETER PHELPS
HENRI SZEPS
FELIX WILLIAMSON
RUNNING TIME:
APPROX 2 HRS
INCLUDING INTERVAL
Cruise Control brings together seasoned stalwarts, eccentric characters and a zinging script. Chloe Dallimore purrs as the love-lost Imogen, aside Michelle Doake as Fiona, the respectable, cuckolded editor. No confrontations between rivals, but Kate Fitzpatrick brings breezy class to Silky.
Peter Phelps' straight-shooting Darren shocks neurotic Sol (Henry Szeps) and challenges David's son, Felix Williamson's lecherous, loathable Richard with typical 'Aussie abroad' bluntness.
Williamson's own onboard dining disaster comes to The Ensemble at a time when holiday cruising in the post 9-11 era is the socially acceptable choice. Like the jokes, "there was a Englishman, an American Jew and an Australian", the humour wears thin as the real drama emerges, and we genuinely connect with the pathos of the piece.
What works well is the timing of so many of the lines. "You're more of a reptile thesaurus" quips Silky to Richard, pinpointing the aggressive predator with vocabulary to burn. Fine dining, like the delivery allows the audience to savour the lines. We love to hate Richard, and experience the rancour and disdain of this
loathsome Lothario.
Genuine tenderness emerges from the brief encounter of Sol and Fiona, as she gently coaches his novel aspirations. Dentistry and drama is not an obvious connection, nor is surfware and syndication with Darren, but all tension leads to how they treat Richard's flagrant indiscretions.
Like the champagne, we have a near-perfect cast to lead us onboard (and off), with marital struggles, cavorting and cajoling in the best Williamson way. The lovely foil of Kenneth Moraleda as Charlie to the haughty Richard, the crass Darren and suffering Sol make the week that was plausible.
Williamson the playwright doubles as director, and achieves slick pace, as if the ship's staff had changed the sheets and cleaned the glasses. Marissa Dale-Johnson's design matches the style with a glamorous backdrop of luxury liner, a dinner table featured, with cabin and deck relief.
Lighting from Ross Graham spotted the curious conversations, and we have a Muzak-style soundtrack the like of which we could expect onboard. For the large outlay, and the Titanic proportions perhaps we should have Andre Rieu and Tchaikovsky.
If you can spare two hours, spend it in the company of some of Australia's finest actors and don't let your emotions go overboard.
Cruise Control
by David Williamson
Ensemble Theatre
reviewed by Ben Oxley
credit: Ensemble Theatre
DIRECTED BY:
DAVID WILLIAMSON
CAST INCLUDES:
HELEN DALLIMORE
MICHELLE DOAKE
KATE FITZPATRICK
KENNETH MORALEDA
PETER PHELPS
HENRI SZEPS
FELIX WILLIAMSON
RUNNING TIME:
APPROX 2 HRS
INCLUDING INTERVAL
Cruise Control brings together seasoned stalwarts, eccentric characters and a zinging script. Chloe Dallimore purrs as the love-lost Imogen, aside Michelle Doake as Fiona, the respectable, cuckolded editor. No confrontations between rivals, but Kate Fitzpatrick brings breezy class to Silky.
Peter Phelps' straight-shooting Darren shocks neurotic Sol (Henry Szeps) and challenges David's son, Felix Williamson's lecherous, loathable Richard with typical 'Aussie abroad' bluntness.
Williamson's own onboard dining disaster comes to The Ensemble at a time when holiday cruising in the post 9-11 era is the socially acceptable choice. Like the jokes, "there was a Englishman, an American Jew and an Australian", the humour wears thin as the real drama emerges, and we genuinely connect with the pathos of the piece.
What works well is the timing of so many of the lines. "You're more of a reptile thesaurus" quips Silky to Richard, pinpointing the aggressive predator with vocabulary to burn. Fine dining, like the delivery allows the audience to savour the lines. We love to hate Richard, and experience the rancour and disdain of this
loathsome Lothario.
Genuine tenderness emerges from the brief encounter of Sol and Fiona, as she gently coaches his novel aspirations. Dentistry and drama is not an obvious connection, nor is surfware and syndication with Darren, but all tension leads to how they treat Richard's flagrant indiscretions.
Like the champagne, we have a near-perfect cast to lead us onboard (and off), with marital struggles, cavorting and cajoling in the best Williamson way. The lovely foil of Kenneth Moraleda as Charlie to the haughty Richard, the crass Darren and suffering Sol make the week that was plausible.
Williamson the playwright doubles as director, and achieves slick pace, as if the ship's staff had changed the sheets and cleaned the glasses. Marissa Dale-Johnson's design matches the style with a glamorous backdrop of luxury liner, a dinner table featured, with cabin and deck relief.
Lighting from Ross Graham spotted the curious conversations, and we have a Muzak-style soundtrack the like of which we could expect onboard. For the large outlay, and the Titanic proportions perhaps we should have Andre Rieu and Tchaikovsky.
If you can spare two hours, spend it in the company of some of Australia's finest actors and don't let your emotions go overboard.
