The Australian Platypus is an unusual animal, seemingly made from disjointed parts that somehow come together to make a creature that is both unique and adorable. The Platypus is a play that uses that creature as its motif and is also an unusual creature that is loveable.
Playwright and director Francis Greenslade has compiled a witty compendium of theatre tropes and situations that leaves the audience guessing what will come next. In essence, the storyline revolves around the relationship between Richard (played by John Leary) and Jessica (Rebecca Bower) as well as their extended family, friends and lovers. Both actors are strong and believable and slide easily into their many alternate roles. The varying emotions between the two are realistic and sentimental.
The comical start of the play has Richard and Jessica sidling along to get to their seats to see a play. Jessica is friends with the publicist and is trying to give a good impression, despite Richard. In a clever mirroring of the audience, Jessica explains some details of the play, thus filling in the audience on what to expect. No interval, for one. The wish to get a drink while the bell is ringing, the confusion, the putting on graces, it’s all too relatable.
The story begins in the family home, in the kitchen, in the morning. A familiar scene, breakfast and lunch are Jessica’s tasks, while Richard is running late. He needs Jessica to get his prescription filled and is frustrated that his son Jack (offstage) is not ready to leave. This one scene shows the tense relationship that exists in the household.
As each character goes about their respective days, the relationships that they have with others is put under a spotlight. The language and style of their interactions are cleverly updated to suit. A high-end Shakespearean dialogue. A limerick-style rhyming meter. Like the proverbial platypus, the disjointed style of each scene only adds to the understanding of the different relationships. Bower and Leary play alternate love interests with simple changes of outer attire, that make identifying each character an easy task.
What made this story interesting was that various viewpoints in time and space were explored in different scenes. The recurring morning breakfast scene had different outcomes and meanings depending on when it appeared in the sequence. Richard’s relationship with his mother was also tested. Although we never see or hear her, we can feel the pangs that a mother feels, wanting to know how her grandson’s tooth fell out, rather than how quickly she could come up with enough cash to save the family home.
Set and Costume Designer Sarah Tulloch has simplified the set to table and chair, but by using props and costumes, we see a whole perspective. Claire Springett‘s lighting and David Franzke‘s sound match the ever changing scene changes perfectly. It all comes together seamlessly.
As well as having disparate styles for each scene, the play has a number of different references. The handbag scene from Wilde’s, The Importance of Being Earnest earned plenty of approving laughter from the audience. An amusing expletive-filled scene with Richard and his ventriloquist’s dummy was completely left-field that somehow fitted in perfectly. Odes to Pinter, Beckett and Mamet are sprinkled generously. When Richard and Jessica sit side-stage as the audience, we virtually see ourselves in a fourth-wall mirror. Lust, greed, jealousy are all on display. The entwined love stories resonate as simple yet profound.
But let us not forget the motif of the platypus, the son’s favourite animal. It crops up from time to time in conversation and appears as a birthday present near the finale. In the final scene in the home, it’s the same location, but much has changed. The son Jack, played by promising young actor Weston Thomas appears, clutching his platypus, trying to make sense of what is happening around him.
The Platypus is a very enjoyable play from master comedian Francis Greenslade. His laconic and witty perceptions of life and relationships resound in this rewarding and humorous play. Don’t look too deep or you may find yourself looking into that virtual mirror.
FOUR STARS (OUT OF FIVE)
The reviewer attended the performance on 13th March
The Platypus is part of the Adelaide Fringe and plays at Holden Street Theatres until Sunday 23rd March. Tickets and more information here
Buckets Nijinsky is the production company of Adelaide’s own Francis Greenslade, best known from Shaun Micallef’s MAD AS HELL.
Soft Tread is run by principal Jo Dyer and has produced many great shows including the Wharf Revue and Jonathan Biggins’ one-man play bio-play of Paul Keating, THE GOSPEL ACCORDING TO PAUL.
