'Quartet' is a comedy; a modern comedy of manners.
And so, like all good comedies of manners, it explores the concerns of the well-off first world and is essentially a play about aging with a smattering of thoughts on art and love. Its characters are standard types and their personalities serve the purpose of the comedy first and of the themes second, never quite making it to three dimensions. But making the audience laugh is the cornerstone of the genre and this production excels in that!
The play opens with three elderly people in a garden: the audience is immediately introduced to the loveable clown and rake of the piece, Wilf, in undies, dressing gown and slippers with walking stick – and the wit begins to flow.
There is some intrinsic comedy in having your Casanova figure incapable but still lusting, however Wilf is a wonderfully written character whose honest voicing of his thoughts and desires and conscious acceptance of their actual limitations is endearingly conveyed by Trevor Stuart. It is he and Cissy, the simple heart, romantic, generous, and ditzy with memory loss who seems to get the better of life in the retirement home by making the most of their situation and enforcing the club's admirable NSP rule (no self pity) on themselves. Christine Amor is very convincing as Cissy in a difficult role to pull off.
The third member of the club is the perfect gent figure, Reginald (played by Andrew McFarlane) who doesn't want much to do with Wilf's ribald musings but wishes to spend a dignified old age musing on life's purpose and philosophising on art rather than the decay of the flesh. He is not quite the traditional fop figure but in juxtaposition to Wilf, the validity versus pretentiousness of his concerns seems finely balanced. In fact this reflects his pristine personality which is also finely balanced between self-possession and fastidiousness. Unfortunately the over-playing of vitriolic outbreaks about marmalade for laughs disturbed these neat conundrums.
The trio are retired opera singers recently arrived at a home for retired musicians and the next big event is the performance for Verdi's birthday. There is a touching almost youthful enthusiasm at the idea of singing together and performing again; and whilst they love to recall former success, there is a sense of joy in art for art's sake rather than acclamation. The scene is set and ready to be disturbed. Enter, unexpectedly, stage right, Jean, a prima donna par excellence and Reg's ex wife several husbands ago.
Jean is a self-centred and unsympathetic character, less than enthusiastic on failing to live up to her glorious former performances, but the memory of her artistry still has influence. She questions not only the basis of Reg's equanimity but the fundamentals of how to grow old gracefully and honestly: should we relinquish former achievements and embrace our declined state or demand respect for our former worth and preserve our dignity?
The second act of the comedy of manners uses the humour to suggest we reflect on our own foibles and pretensions. We all love to bask in our (former) glories but what should our sense of self-worth be based on to enable us to live well to the end? This production is less comfortable with the serious reflections and ultimately opts for a comical conclusion; however the questions hang there in the crisp and sparkling script: how do we create great art, a good life, a meaningful old age?
Written by Kate Byrne
'Quartet' performs Queensland Performing Arts Centre until 21 February and tours regional Queensland 25 February – 23 March.
