Lesbian Variation

Lesbian Variation

Presented by Blancmange Productions

Directed by Stephen Carnell and Amelia Tranter

Reviewed by Catherine Hollyman

Slide Lounge Bar is the perfect venue for intimate productions, thanks to the low ceilings, subtle lighting, acoustics and stage set up (which happens to double as a dance floor at night). Its glitzy interior, complete with velvet drapes, gilded mirrors and cherubs swinging from chandeliers adorned with faux-crystals, provides just enough dramatic flair for live theatre without being too kitsch.

Walking through the doors of Slide on a hot, sunny Saturday afternoon was a bit like stepping into a time machine. The stark blue Sydney sky and hustle and bustle of Oxford Street instantly gave way to a much slower pace, a soft and sultry atmosphere filled with music reminiscent of days gone by. I learned later from The Lesbian Variations director and producer, Stephen Carnell that the music had been carefully chosen to reflect the three plays we were about to see.

Songs from renowned contemporary jazz performer Stacy Kent, a lesbian, played pre-show, during the intervals and post-show. The intro songs for each of the plays are by R&B artist LaVern Baker. “I chose Baker because she sings in a soulful way about women’s feelings on love and life – which is what The Lesbian Variations is all about. The specific tracks were chosen because they relate to a certain aspect of the plays they precede,” explains Carnell. “Baker was also a huge star 1950’s and 60’s which is when the major work in the show is set.”

As the music slowly faded, the mood that had been so carefully set was violently interrupted from the soundbox as we were somewhat patronisingly reminded to turn off phones.

It was a shame the moment – for me at least – had been broken, but the feeling in the room certainly lent itself well to the opening play, Cake on a Plate, which sees Alicia Gonzalez’s teacher addressing her classroom, the audience.

Like any memorable teacher, Gonzalez commands your attention from the outset, so much so that you’ll think twice about drinking your beer or glancing down at your program for fear of being eyeballed, publicly told off or worse, sent to the office. As she tries emphatically to explain to a group of unenthused teenagers why she's so passionate about Shakespeare, Dylan Thomas, and other well-known literati all of whom risked so much to reach their personal best before dying, watch out for lustful naughty girl Shauna who may just be sitting next to you…and is trying to reach a personal best of her own.

Class is dismissed for a seven minute interval which, whilst needed for the actors, is a touch too long for a smaller audience after just a 15 minute play, but make the most of it and head to the bar.

The Dyke Variations, with Laura Viskovich and Gonzalez, explores the impact of a baby on a relationship. The vignette opens with Viskovich, the non-carrier, grappling with the bond Gonzalez, the birth mother, has formed with baby Emily. From there, the couple goes through the ups and downs of parenthood, getting philosophical and emotional about the recent big change in their lives.

I found the easel ‘signposting’ each scene distracted rather than added to the journey of the characters. The writing and performances, coupled with a sympathetic audience, should have alone been relied upon to tell the story.

Viskovich was too quiet except for the oft-repeated “come on!” as she tried all manner of entertaining tricks to calm the baby, into which she threw herself with all the innocent-gusto of a hapless parent that those who have children will surely empathise with.

A 20-minute interval allows Carnell time to effortlessly convert the stage into a Randwick Race Day tent...and have a chat to What’s On Sydney. "The next one is the main course," he explains, referring to the last play. "You've had the entrees, now it’s time for a 45-minute feast."

Baker’s “I Cried a Tear” takes us to the 1960's as punters refill their glass once more before Kate McGinniskin bumbles on to the stage to give us the performance of the afternoon as Helen. More accurately, I should say Helen, Mr Experience, Lust Monster, Shameful Doubt, and a whole host of other characters both in her head and in her recount of her first day at the races where she met “woman number three” played by Viskovich. As Helen, McGinniskin stopped the audience in their tracks as we hung on her every word, laughing with her, laughing at her, pitied her, vied for her and cheered for her – as you will too. One of the best performances I’ve seen in a long time.

Considering its title, The Lesbian Variations isn’t what you might first think. The subjects dealt with happen to everyone, regardless of their sexuality. The production appears effortless, which of course it isn’t, but that is testament to the directors, cast and crew. A rare treat for a Saturday afternoon; one not to be missed.

Booking Information

Dates: Sat 31st March, Sat 14th April

Venue: Slide Lounge Bar, Oxford Street

Times: 1pm – 3pm 


Duration: 2 hours with a 7 min interval and 20 min interval

Tickets: $30


Book: http://premier.ticketek.com.au/Shows/Show.aspx?sh=LESBIANV12