‘Annie Wobbler’

Press, 9 August 1985, Page 4

‘Annie Wobbler’

“ Annie Wobbler," by Arnold Wesker, directed by Elizabeth Moody for Court 2. August 7 to September 7. Running time: 8.15 p.m. to 9.55 p.m. Reviewed by Gerrit Bahlman.

Arnold Wesker is a British playwright who. paradoxically, has continually premiered abroad. His plays are translated and enjoy considerable success. They are plays of ideas, dramatising a debate, expressing in passionate terms matters of moral moment They portray the dignity and honour of the working class, the value of idealism, and the fight of the individual against constraint. “Annie Wobbler" might be expected to have elements similar to Wesker’s "Roots” trilogy. It does not Wesker has grown as a playwright He has developed and matured. This play is a monologue about three women, each rendered by the same actress, Judie Douglass. There is an immediate challenge to find connections in theme between them. The desire to; monld the play and the

women by preconceptions about Wesker’s earlier "messages" is irresistible and a mistake. The socialist themes are not the essence of the play: The dynamics of the three portrayals can not be resolved so simply. The first woman we meet is Annie Wobbler, an ageing, drifting, cleaning woman with voluminous pockets in which she keeps everything from a wad of references she cannot read, to pots and pans. Annie is down and out but she is wise in her ignorance. Annie knows herself.

The second Anna is a newly graduated (first-class honours in French) woman determined to make her mark in the academic world. She has cast off her “shackles of crass ineptitude” and subjugation but she retains her self-doubt and awareness of her roots. The third Annabelle is at the pinnacle of her writing career. She is furthest from the original Annie and she is the least settled within herself. The three women are

diverse in nature and character. Few actresses could carry the three roles and do so with conviction. Judie Douglass has the experience and the ability. Her portrayal allowed no accidental confusion between the three women. Each was drawn rich with detail. Levels of honestv and self-knowledge were 'lightly pencilled byMrs . Douglass. A less accomplished performer mayhave made the mistake o’f over-emphasising the differences and reducing the portrayals judgmentally. Elizabeth Moody’s direction was economical and yet made full use of the grey, stylistic dual-level rostra designed by Michael Hodgson. Moments of intimate humour and frank revelation were carefully structured to hold and interest. The production is sympathetic to its characters and could easily be mistaken for a play taken from the recent crop which attempt to portray women in the context of an aggressive male society. Wesker’s denial of a “message” is eloquently presented in this New Zealand premiere.