The Platypus

The Platypus is no ordinary play which is what as one would expect from the pen of actor/writer Frances Greenslade. We know him from his bizarre character changes in shows like Mad as Hell where anything can happen, and often does. 

The platypus which is among nature’s most unlikely animals, is best described as a hodgepodge of more familiar species: the duck (bill and webbed feet), beaver (tail), and otter (body and fur). So we have a play which begins with a man and wife (John Leary and Rebecca Bower) seemingly at odds, which is confirmed when we see them at breakfast the next morning, and throughout most of the play, despite some tender moments.

The Arch at Holden Hill Theatres has a small stage, and no proscenium arch. This is dealt with expertly by set designer Sarah Tulloch, as the scenes are moved by the use of a table and chairs, lighting and minimal costume changes. At times it is confusing, as to when and where  and to whom the action is taking place. This play is challenging – but something innovative and different always will be.

 Just as the platypus is a zoological medley so The Platypus presents diverse theatrical styes. This can be said to reflect life, for may we not all, at times, present different personalities to the world. A chameleon approach to language adds to the the complexities of the play. At times iambic pentameter,  Shakespeare, steals from Wilde’s Importance of being Ernest, American accents, ventriloquy and singing. The plight of the relationship, held together by tenuous threads, just manages to stay in focus against the humour and the mind games. Amongst the mayhem the very real questions of infidelity, and jealousy are raised : a father, unable to give a present to his son his  birthday, because of the custody ruling. Life is real and life is earnest.

The two actors are skilful in their portrayal of a number of characters, holding the play together while little Weston Thomas, who had waited patiently all night for his entrance, was a delight. Original music, lyrics by Frances Greenslade and music by Matt Frank, mocks music devices.

In the end we have hopes that the relationship may survive, or else we are convinced that it is doomed. Such is the nature of this play.

You can hear my interview with Frances Greenslade on the Kaleidoscope program first broadcast on 19th March.

Buckets Nijinsky Production 

Written and directed by Frances Greenslade

The Arch Holden Street Theatres  March 11-23