‘Butterflies are Free’

Press, 27 February 1986, Page 4

‘Butterflies are Free’

“Butterflies are Free,” directed by Andrew Da* vidge at the Elmwood Theatre, Fulton Avenue, from February 26 to March 8. Running time: 8 p.m. to 9.55 p.m. Reviewed by Elody Rathgen. “Butterflies are Free” is not a new play for Christchurch audiences. Other productions and the film have been seen here before, but Elmwood’s opening production for 1986 stands up well beside its predecessors. The director, Andrew Davidge, and his production crew have worked to recreate a convincing 1960 s atmosphere. Memorabilia fill the foyer of the theatre, and well chosen music and excellent programme notes add to the convincing background for the play. Obviously the set is meant to suggest the post-hippie atmosphere, but seems rather over-obvious and glaring in choice of colours.

From the opening moments the production exuded ■ confidence and the audience was quickly absorbed. The pace was excellent, the comedy enjoyable, and the rapport between the two central characters very warm.

Don Baker (Christian Boje) a young man blind from birth is making his

first bid for independence by taking an apartment on his own in New York. This is very much against the wishes of his mother, played by Mary Clark. However, it is a move which is appreciated by Jill Tanner, his new neighbour, played by Ondine Claridge. Undoubtedly the success of the production hangs on the portrayal of Don, and Christian Boje in the role lives up to what is required of him. He is consistent in his use of accent and convincing in varying scenes of anger and humour. Only in moments of despair does one sense in this actor a tentative quality of voice and movement. The two women are presented by the playwright as less admirable characters, and yet in this production each has her moment of winning the understanding of the audience. Ondine Claridge is full of energy, an outgoing, assertive actress. Easy and relaxed in movement and convincing in moments of anger, she does, however, overwork facial expressions at times.

Mary Clark, as Don’s mother, has a difficult role. In her opening scenes she is portrayed as dominant and possessive of her son. However, later

in the play she draws out the deeper qualities of the character and with Christian Boje collaborates in the most compelling scene of the play as she leaves him to continue his life in his own way.

The small cast is completed by Richard Muller who plays Ralph Austin, a “theatrical” friend of Jill. It is never easy to make a brief appearance towards the end of a play, and certainly this actor does not seem comfortable. He exhibits too many disturbing mannerisms.

Andrew Davidge has been careful in his direction, creating some fine moments both in comic and in tragic moods. He sometimes seemed to overwork his cast, especially in the scene of conflict between the two women who appeared to roam the stage like restless lionesses. Both had sufficient vocal variety not to need this movement.

This is an enjoyable play and still interesting today because it deals with human relationships and the struggle for independence. The production is worthy of audience support and will rouse laughter and tears even for those who have seen it before.