Trent Dalton Love Stories
There is an overarching symmetry between the opening event of the Adelaide Festival, Innocence, an opera dealing with the aftermath of a single tragic event, where the victims were not the only casualties, and then the life affirming experiences, told in glorious technicolour in Trent Dalton’s Love Stories. Here the stories of love in its many manifestations are brought to life.
Writer Trent Dalton, some years ago, took his blue Olivetti typewriter, settled on a street corner in Brisbane, and asked people who were passing to tell him about their love stories. The account of lost love, happy love, love between parent and child, long unions, reunions and a male bonding session, which proved too close to the bone for some, emerged. These stories were authored into the book Love Stories, which was then adapted for stage by Dalton, Tim McGarry and Fiona Franzman.
The stage set by a single typewriter at centre belies the action which is to come. Early signs emerge when Jean Benoit (Rashidi Edward) enters the theatre from the back playing a large hand-held drum, which he offers to different members of the audience to have a go. From thereon he is part of the action, sometimes as bystander and at others right in the thick of it all, providing a exotic element to proceedings.
While the love stories of the husband (Jason Klarwein) and wife (Michaela Barnas) provide the underlying theme, members of the Ensemble present the various love stories which come from Dalton’s book. To each their story is heartfelt, unique and a snapshot of life.
What lifts the intensity of the mood is the skilful work of choreography and movement director of Nerrida Matthael. The dancers, Hsi-Ju Ely and JacobWalton brought another dimension to the telling.
Credit to be given to Sam Strong, Director, Renée Mulder (set design) Ben Hughes (lighting design) Craig Wilkinson (video design and cinematographer) and Tnee Dyer, (onstage cameraman).
As the action on stage was mirrored and magnified, or reflected on the large back screen, the show proved to be a multifaceted examination of a basic human emotion, and, dare I say, a need; while totally avoiding any sense of banality or flippancy. Humour yes, but never satire or cheap comedy.
Adelaide Festival
Dunstan Theatre March 14-16
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