Contagious dissections

Press, 25 August 1976, Page 6

Contagious dissections

“Songs to Uncle Scrim,” written and directed by Mervyn Thompson. “The Robbie Horror Show,” written and directed by John Banas. Performed by Downstage Theatre, with musical direction • by Stephen McCurdy, at The Court Theatre, Christchurch Arts Centre, August 24-28. Running time: 8.15-10.20.

"Talking through the nigh Taking the world apart. Patting it back together. This time with a heart .

Mervyn Thompson’s lyrics might serve as a theme for the whole programme: two

dissections of what looks uncomfortably like the same world, two statements of a national ambiguity that infects every member of it, and two highly contagious attempts to accommodate that ambiguity through the medium of song, satire, sentiment, pathos, comedy, and

sombreness — in short, to give our world a heart. These shows were, of I course, not written to be performed together: the comIplementary impact which obviously hit every member of the highly responsive audience last night must be put down to a very happy coincidence or (more likely) very shrewd management.

“Songs to Uncle Scrim” is a musical drama focusing on the Depression; it is virtually all sung, but it is extremely subtly conceived, so that vestigial characters crystallise briefly, interact in miniature private dramas, and then dissolve again into the broader social spectrum.

“Uncle Scrim” is a fascinating work, deceptively casual in its development: the modal transitions are so smooth that they all but conceal the expertise behind them. However, Christchurch audiences know well the effectiveness of the ThonipsonMcCurdy combination, which first appeared in their memorable “Marat/Sade”; Stephen j McCurdy (who learned the 'trumpet specially for that production) plays the piano in this show, but will be remembered most for his score, an interesting variety of melodies very well suited to the tough, ragged, frontal, Brechtian manner in which they are delivered. For Mervyn Thompson, as a playwright, this is a work of refinement, with a highly audacious modulation of atmosphere; it is a much more economical work than his earlier ones, more confident and precise in its impact. “The Robbie Horror Show” is a hilarious, revue-like survey of contemporary New Zealand which, apart from black lipstick, owes nothing to this country’s most famous musical. But neither is its satire as limited as you might guess from the title: it is very much John Banas’s show, and his performance jearries us through an alfnost icomplete portrait gallery of famous New Zealanders, as I well as a miscellany of aliens. This satire is in no sense damaging — we laugh briefly at these people, but our final feeling is admiration for Banas’s incredible versatility and artistry.

Don’t miss this show: either part of it would be a worth while programme in itself. and there are so many good performances from the six-man team that a critic cannot begin to list them. — Howard McNaughton