From the moment you step into the theatre, the atmosphere is expectant.
In the far-left corner of the stage sits the string ensemble, evoking a chamber-like feeling as they eagerly prepare to begin. To the right are carefully positioned lights beaming dramatically onto the stage. The result is an enchanting and expectant centrepiece, and as the ensemble warms up, the four old friends make their entrance.
A crackle of thunder kicks off the show, and Mia (Antoinette Halloran), Drew (David Rogers-Smith), Rose (Dimity Shephard), and Jean-Pierre (Kanen Breen) appear one after another, each showing characteristics by their reactions to the unpleasant weather. The stage turns into their favourite restaurant, where the group have been meeting once a year since they became teenage friends two decades earlier.
The crisp, white banquet table is wheeled in by the waiter (Michael Carman in a non-singing role), who resembles a wry version of 'Faulty Tower’s Manuel. Each course is a decadent splendour of “flotsam and jetsam of scallop … washed ashore on a windswept beach of wild shitake and smoked dulse”; “flashbacks of saddle of lamb… dreams of provençal anchoïade”; “fantasy of pomme de terre”; “a profusion of green asparagus” etc., etc. (the swankiest food you’ve never eaten).
It is clear from the beginning Mia is portrayed as the ‘star’, yet Rose and later on John-Pierre shone the brightest. While Antoinette certainly makes her presence known on stage, her performance as the vivacious socialite seems over-dramatic. She appeared slightly wooden and would have benefitted by showing more emotion in her face.
Rose, however, is effervescent, lively, and entirely realistic. As an unsuccessful writer and overworked mother, Rose is brought to life humour, drama, and honesty. Drew is equally entertaining with his lumberjack attire, and penchant for long, lingering stares, he seems to be the sincerest out of the bunch. It is Drew who announces Jean-Pierre’s deeply-moving secret. Yet David falls a little flat when it comes time to reveal his own secret – which is actually one of the most haunting. He, like Antoinette, could have used more emotion in his performance to engage the viewers.
Kanen Breen is a pleasant surprise. For the first half he portrays John-Pierre as humorous and jovial, yet when his secret is revealed, the air leaves the room. Kanen’s performance is eerily reminiscent of an early John Cleese. With his lanky legs, languid movements, and casual stride, you want to snigger at every word he dramatically announces. When Mia asks why the group stays together, John-Pierre replies “we stick together like last year’s Christmas lights – tangled and broken.”
The overhead mirror is well-used during Kanen’s confessions; indeed, the mirror serves as an all-seeing eye, highlighting the small movements and secret looks the audience may miss. Although clip-art on the mirror didn't quite work. On one hand, the multi-coloured lighting seemed just right, spectacularly highlighting each character’s mood and emotion. On the other, the show seemed to rely a little too much on this gigantic prop.
The music, however, is exceptional. As each course serves up confession and chaos, renown Melbourne composer Paul Grabowsky conducts a coherent and euphonic score keeping the actors together when dialogue stales. Perhaps one of the main issues with the show is the amount of dialogue. It could benefit from small moments of silence, allowing the friends to reflect on the conversation instead of racing to the next scene.
'Banquet Of Secrets' performs Brisbane Powerhouse until 9 April.
