Lieske Bester reviews FLAT SPIN
Directed by Wendy Goddard for Muizenberg Dramatic Society
Masque Theatre Muizenberg until 22 March

Visit our shows page for more information about "Flat Spin", show times and bookings.

"Farce or farcical comedy is probably the most challenging theatrical style to get right but it carries its own special rewards. The hilarious rehearsal period before the reins are pulled in to polish, define and fast- pace the action and double-entendres is a joy and a great learning process for actors. When it works there is the ultimate satisfaction of invoking ripples or bursts of amusement in the audience which energizes performers and proffers true entertainment. 

This production has it all and it is not that often that a theatre empties on the sound of loud laughter. But then, the final moments of the closing scene are a brilliant piece of writing and execution! 

Farce traditionally needs good looks and good bodies in relevant roles.Lienkie Diedericks and David Luyt as Jane and David Kenway have both as well as an engaging stage presence. Daniel Enticott as Michael Carter charms as the accidental trigger of confusion and commotion, while Jana Botha (Mrs Chatham) and Kim Randleff-Rasmussen (Wendy Wilson) confirm their sense of comedy and ability to identify with any given character. Gary Green and Charnelle Danica are respectively modish and elegant in their roles. For me the most memorable performances come from John McConnell as Brigadier Kenway and in particular Alastair Duff as Dino Giovanni. His participation whether speechless or communicating in realistic but incomprehensible Italian is spot on - his body control simply splendid. 

A pleasing cameo performance by Mark Jennings as a police sergeant completes a company that excels in teamwork and interaction, guided by a strong director with a flair for characterisation, timing and stage business. Designing the authentic setting and costumes deserves a separate accolade.. 

We all need a really good laugh in this far from wonderful world –
Book a seat to spin on this happy wheel of fortune!"
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Directed by Coleen van Staden"One of the subtlest plays Broadway has seen in years, by one of the most extraordinary writers of the English speaking theater." – Newsweek

For more information, or to obtain your audition piece,  email Coleen or telephone 072 120 5645Auditionees must obtain the audition pieces beforehand so that they are familiar with the pieces to be read.   

If desired, auditionees can audition for both parts but  should indicate their preference.
Awards

• 1984 Evening Standard Award for Best Play                                                         
• 1984 Laurence Olivier Award for Best New Play
• 1984 Plays and Players London Theatre Critics Award for Best Play
• 1986 New York Drama Critics' Circle Award for Best Foreign Play

THE PLOT

David, a somewhat aloof but idealistic architect has taken on the re-development of a South London slum with the “do-good” intention of providing well-built and attractive new housing for the masses. Budget constraints force him to compromise more and more, and he ends up having to design high rise tower blocks that keep getting taller as the number of obstacles in his way increase.  

His wife, Jane, forever the pragmatist, grapples with her loyalty to him and his “cause” and  loyalty to their friends  whose floundering marriage cries out for her help. Her good intentions backfire horribly and end up being the ultimate undoing of their marriage and worse still, the ultimate failure of David’s project. 

The “hapless” friends,  Sheila, the quiet and needy put-upon wife and Colin, her cynical and sometime cruel husband, turn out to be the real puppet-masters of the piece as the dynamics in the relationships shift and true colours are revealed.

“Progressive Collapse” an architectural term for the tower blocks, becomes a metaphor for the collapse of a marriage and a friendship.

The plot unfolds in a series of scenes both present and past,  where the actors address the audience directly,  think out loud and move seamlessly between the 1980’s and 1960’s on a minimalistic set.   The characters are  multi-layered , the comedy subtle, the language beautiful and the structure elegant.  

It’s an exciting and challenging piece of theatre.

CHARACTERS

• David, (30 – 50)  Energetic, enthusiastic, self confident, idealistic. Not in entirely in tune with what is happening around him.  Single-minded and focused on his work..  As the dream slips away, we see the progression from optimism to resignation.   
  
• Colin,  (30-50)  Journalist – not very successful.  Jealous of David’s success.  Cynical, snide, cruel at times, his attacks are not overt, but subtle and often couched in witticisms and jibes.  He takes drastic action at the end of Act one and this new direction gives him the power to call the shots and dictate the outcome.
•  Jane (30 – 40) Wife of David. Pragmatic, efficient, genuine – what you see is what you get.  Is irritated by inaction, takes charge of situations.  She has a good heart and her intentions are pure.  There is an attraction to Colin that is very subtle and could turn into something, but doesn’t.  She is the driving force in Act One.  
  
• Sheila (30 – 50) Wife of Colin.  The “serial” damsel in distress. Naïve and self-destructive, she is the passive player in the game, but a player nonetheless.  Whatever confidence she once had, has been systematically destroyed by Colin. On the surface, unsure and nervous, at a deeper level,  able to manipulate people and situations to her advantage.

Please note: This is an amateur production, and there will be no payment.