‘Missionary Positions’

Press, 6 May 1983, Page 4

‘Missionary Positions’

“Missionary Positions.” Written and directed by Barry Southam for the Elmwood Players, from May 4. Running time 8 p.m. to 10 pan. Reviewed by John Farnsworth. Unemployment and feminism are the central issues in this first play by the author, Barry Southam. The Elmwood Players are to be congratulated on staging what is usually a risky venture — a new play by a local playwright. In this ' i case, it was clear that the -i result appealed to the audience. Written , as a somewhat uncertain comedy of < modern manners — and, at i times, ill manners — the ’ play has a relatively slight i plot. Andrew (Edward 1 Campbell) and Melissa (Jen- < nie live together < in.«*» state of constantfesl disharmony. Edward is un-«

employed and, in a case of traditional role reversal, acts as a houseperson while Melissa works at the university. On the side, they run a part-time dating agency, which turns out to provide a new sexual interest for Edward, and further conflict with Melissa. It is from this base that the remainder of the play unfolds. Despite the obvious fluency of writing, what dogs this play is a feeling of uncertainty about the playwright’s intentions. The dialogue, for example, sits uncomfortably between natural and stage language. When it is. unforced, usually in the serious sections, Southam displays a considerable ability to involve the audience in the characters’ attitudes. In this respect, the last of

the seven scenes stands out sharply, with a magnificent entrance by Melissa, and a cathartic conclusion to the action, that is well conceived and executed by Southam as writer and director, and by the cast as a whole.

Indeed, the whole production works well. All six actors give good performances in spite of some line problems. The obnoxious Edward and the overbearing Melissa, particularly, are played to the hilt, and there is a delightful cameo from Moreen Eason.

In short, it is an enjoyable performance presented with commendable pace and vitality. If there is some awkwardness in the development of theme and characterisation, it is handled with aptomb by both cast and dirisctor.