Review by Tony Campbell
For GCLT’s first show of the year, Michelle Watkins has delivered an insightful and sharp presentation of the stage adaptation of the iconic film, THE GRADUATE.
Notwithstanding the cultural impact of the Anne Bancroft and Dustin Hoffman 1967 comedy-drama, this production shares its own nuanced perspective.
Watkins has assembled an ensemble of thoughtful and skilled actors, affording them a quality opportunity to take real ownership of their work. This cast presents unique and distinctive characters who perform with their own well-considered beats and phrasing. They have been empowered to breathe new life into a classic.
The renowned characters Mrs. Robinson and Benjamin Braddock need no introduction, and this play shares the same experience of their controversial relationship before Braddock falls in love with Mrs. Robinson’s daughter, Elaine.
The play leans into bold satire that challenges the audience to reflect on relatable themes. The punch lines, physical comedy and relentless power play between the characters, encourages reflection on themes of isolation, self-discovery and shaping life’s path.
The dynamic chemistry within this entire ensemble is realised through the delicate direction. As scenes modulate from flirtatious to feuding, the emotional contours in this stage work are stark.
As Mrs. Robinson, Pamela Payne glides irresistibly with the poise of a silver screen siren. Payne’s character work is an elegant dance, underscored by blissful pace and pause. Her ability to raise the pulse of a scene simply with the bat of an eyelash is enchanting. A passionate and deeply authentic performance.
Stuart Morgan presents a reflective and impeccably internalised portrayal of Benjamin Braddock. It is a sophisticated performance, weaving a tapestry that gravitates fluidly from the naive to the neurotic into self-assured and secured, and back again. Morgan is an intuitive custodian of this challenging role which serves to reinforce that pathways to growth and self-discovery are not without mistakes and complications.
Payne and Morgan’s timing is melodic. They manage the shifts in status between Mrs. Robinson and Benjamin so accurately; it reveals a balanced perspective from both sides of this problematic pairing.
Jessica White as Elaine Robinson gives a gentle portrayal of kindness and sensitivity. Her scenes with Morgan were an embodiment of the roller-coaster of Benjamin and Elaine’s relationship.
Phillip Victor and Tracy Carroll as Mr. and Mrs. Braddock were the ultimate parental double act. Both performed with brilliant instinct. Carroll’s Mrs. Braddock was shared with such spirit and vitality. The audience adored her warmth which illuminated this beautifully animated and concerned mother.
Phillip Victor performs with effortless command and incisive control. His Mr. Braddock was an astute listener and a careful reactor, which deepened the relationship with his son, and reinforced the challenges of unconditional love.
As Mr. Robinson, Christian Bischoff was classy and resonant. His velvety vocals as an initial unsuspecting father and husband exploded into a sweltering, angry realisation towards the end of the piece. This contrast was extremely well-played.
The strength of the supporting players bolstered this entire production. As leading actors in their own right, they were the connective tissue of the action. George Pulley performed with his trademark high energy and humour, alongside Tabitha Woods who has such a magnetic stage presence. As well, Jeffery Walker landed every line perfectly.
A poetic set design by Watkins and Lawrie Esmond was defined by strong, structured lines and streaks of primary colours to subtly evoke mood. The impact of the lighting design by Wes Bluff painted different time and place for the audience, characterised by these pops of colour. This inventive use of shape, space and light foregrounded a timeless quality within the play.
The swift scene transitions were calmly facilitated by the company. Time and place moved forward with the thoughtful revolve of the signature bed set piece, allowing the audience to breathe into the next scene as the play’s momentum accelerated.
The visual imagery of THE GRADUATE fits comfortably in this charming theatre space. With Hair by Ann-Britt Riget, the actors performances are heightened with Riget’s professional touch. As well, Costumes by Di Francis and Watkins effectively aligned with the show’s aesthetic.
The audience was invested in every moment of this compelling piece. With laughs in the right places and audible gasps in the shocking moments, their response promoted what good theatre is all about: fostering well-rounded conversation.
Through the mighty laughs and the melancholy, THE GRADUATE provides a fascinating meditation on the complex and altogether non-linear experience of finding direction and connection.
Bravo Gold Coast 