‘Wild Cabbage’

Press, 19 February 1986, Page 8

‘Wild Cabbage’

“Wild Cabbage,” by James Beaumont, directed by Judd Millner at the Court Two Theatre, from Tuesday, February 18. Running time: 8.15 p.m. to 9.35 p.m. Reviewed by John Farnsworth.

It is good to see the Court opening its 1986 season with a piece of recent New Zealand theatre, particularly one as lively as this. "Wild Cabbage” is a play that seems to draw both its energy and its inspiration as much from the international fringe circuit as anywhere, throwing up a turbulent, episodic plotline. .. • - .

Its. target is partly the familiar one of conservative Kiwi values, which it sets about dismembering 'with noticeable zest and a broad sense of humour. Employing a knockabout style which might loosely be termed expressionistic, Beaumont covers a good dea|of theatreical tern-

tory, fromt he theatre of cruelty to straightforward improvisation, scoring several direct hits as he goes. He begins with a split scenario. One has a dyspeptic angel duo (Peter Elliot and Yvonne Martin) attempting, under orders from Mr G. (Bryan Aitken), unsuccessfully over the years to integrate the Freak (Vivienne Thomas) with its family. On a second level, blithely unaware, the gross and grotesque cabbage farming household brawls and feuds in a caricature of the average rural “Newzild” family. Later, this gives way to a “real-life” section which, in spite of many amusing cameos, struggles unconvincingly to introduce a solemnly symbolic twist to the Freak’s persona.

Nonetheless, the entire cast makes the most of its .opportunities to give an

enthusiastic, versatile, and disciplined performance which reflects well on Millner’s direction. The family (Geraldine Brophy, Mark Hadlow, Hilary Norris, Collin McCulloch, and Vivienne Thomas) make noisily pointed contrast to the heavenly overseers.

Playing the whole piece as theatre in the round, a vividly constumed parade of characters stamp and scamper above, below and between the audience, on an effective set cleverly using every inch of the studio’s dimensions.

This is an unusual play, the strength of which lies in its energetic and inventive script coupled with the cast’s vitality. It definitely has rough edges, and its themes overreach themselves, but this production succeeds through vivid presentation and some robust and telling satire.