A playwright can learn a lot from La Mama’s recent production of Tall Man.
Firstly, it is a great example of dramatic characterisation. The dialogue and direction shows, rather than tells us immediately who these people are. Once we hear his angry words and see his walk, we know that Wayne (Hayden Spencer) is the classic lovable bad guy with the criminal record, addictions and sense of humour to prove it. Once we hear the bogan accent and see the tight Eddy Hardy t-shirt, we know that Billy (Louise Brehmer) is his down and out of luck runaway daughter. After seeing UnAustralia at La Mama last year, it was a relief to see a well-developed script performed by two superb actors. Hallelujah! Decent original Australian work still exists in Melbourne independent theatres and no trendy adaptation or artistic installation was required.
Secondly, it is a great example of plot development. Angela Betzien’s script lathers its revelations carefully and effectively to leave most audiences on the edge of their seats. We keep watching and waiting for the next part to be revealed and even though I knew it was a two-hander, I just kept expecting someone or something to enter. This type of drama has had its day, but audiences (me included) still want to be captivated by a story about characters that they actually end up caring about. This basic fact about theatre, that audiences sometimes just want to be entertained, is sometimes forgotten, especially by new playwrights. It is a hard pill to swallow and yet it’s also a relief to be reminded that plays are just about good, old-fashioned storytelling.
Thirdly, not one word is out of place or superfluous. The exposition is beautifully and seamlessly crafted and the characters’ gestures and movements only further highlight the relevance of each moment. This is how scripts should operate; every word needs a purpose; every beat needs a conflict and most importantly, every play needs a perfect structure that makes audiences believe that there could not possibly have been any other way to tell that story.
Finally, the subtext is never ending. One minute you are considering environmentalism and the effects of mining and the next, you are reminded of indigenous land rights issues. This is definitely a topical piece of theatre that has all the social ingredients to satisfy its leftist audience (me included) who crave to feel guilt, rather than actually take action against the capitalist devil that puts a price on not only the natural environment, but innocent, working class families. Brecht warned us against this type of naturalistic drama, but who amongst us can resist experiencing the pleasures of catharsis?
Well I can and do you know how? Because I spend most of my time, outside of teaching, studying and writing drama and these are the precise elements you need to stop actually feeling when you go to the theatre. I recommend you study theatre, attempt to create theatre and then viola, theatre dies. Help dear readers! I want to feel again. I want to experience the pleasures of naturalism, not just to admire its form. Theatre should not be a lesson in play writing and maybe after a long holiday, I’ll actually be able to watch and enjoy theatre once more, like a real audience member. Until then though, you will see me in the audience, waiting for that one, special show to sweep me off my feet and make me fall in love with the magic of theatre all over again.
