Pluto

Pluto
Written by Jon Bonfiglio
Directed by Emily Agnew
Theatre Company: The New Writing Collective, GRIT Productions, Mokita Productions
Blue Elephant Theatre
28th May – 15th June, 2008

Reviewed by Rachel Sheridan for The British Theatre Guide

What happens when a fascination with what’s out there, in that vast, never-ending galaxy stops you from actually living your life on earth?

On a mountainside in Chile, John Bootes (Bill Hutchens), his daughter Mira (Samantha Hopkins) and his assistant Lau (Matt Addis) spend their days and nights gazing into space, studying constellations, debating whether Pluto is a planet or a star and as we join them they are waiting to see if a shuttle survives its return to earth.

However all is not as it seems; there is all this talk of looking, yet Mira is blind. Blind from birth she has no point of reference; no understanding of what is black and what is white.

The unexpected arrival of Mira’s Mother, Cass (Ruth James) who John hasn’t seen for eighteen years unearths emotions which have been deeply buried. Pluto rather poetically explores the blurring boundaries of emotion and science; of love and hate.

This sparse mountain top landscape plays host to a family (for want of a better word) who are finally being honest with each other. Resisting the urge to play the melodrama there is a quiet passion in Samantha Hopkin’s Mira, refusing to let the fact that she can’t see the stars get in the way of her fascination with them. Just because you can’t see something, does it mean that it’s not there?

All the while Lau observes from the shadows, wanting to be a part of it, yet always remaining on the outskirts. Essentially narrating the piece through a number of spotlight monologues Matt Addis is endearing and charming as he deliveres Jon Bonfiglio’s beautifully written dialogue. There is a connection between him and the audience who are also on the outskirts of the action; observing but never fully drawn in. At times the verbose nature of this script gets in the way of cutting to the core emotions of these characters.

In many ways this play can be likened to its subject matter – a star blazing in the distance yet extinguished by the time it reaches us. The flowery language with its array of metaphors and similes whilst poetic feels detached and although interesting to observe the irony of two people who look at things for a living having a blind daughter, I found myself feeling rather indifferent.

In over analysing, you can in fact miss what is staring you in the face. Whilst I appreciate that this is what Bonfiglio is at pains to point this out, he should perhaps listen to his own advice.

The Harbour

The Harbour

Directed by Ben Samuels

Theatre Company: Limbik

Blue Elephant Theatre

5th March 2008 – 7th March 2008

Reviewed by Rachel Sheridan for The British Theatre Guide

Thursday 6th March 2008


The relationship between land and sea and the characters that inhabit both are explored in this haunting tale; beautifully told through Limbik’s production of The Harbour.

Under the superb direction of Ben Samuels, this imaginative one act production combines many story telling techniques to take the audience on a journey to a non-specific harbour town where we are drawn into the lives of the inhabitants.

One could easily imagine being told this story, huddled around the fire in a small harbour pub by a local fisherman who was told the tale by his grandfather many years before and the intimate nature of the tale is beautifully retained in this telling.

With minimal props the story moves effortlessly from the harbour to a bathroom to a factory as crates double up as a bed, a sink, a deck and funnily enough crates for the fish. Wellington boots are also transformed into a shoal of fish swimming in perfect symmetry across the stage.

The impressive and skilful ensemble who devised The Harbour are as flexible as their props. It can often be difficult to integrate dialogue with a physical performance as one discipline can conflict with the other; however The Harbour unites both perfectly. With especially touching performances from Sarah Johnson (Sally) and Juan Ayala as her frustrated husband, Beto this is ultimately an actor’s piece. However, the physical nature of the performance enhances the story, creating as much energy and passion as the ocean itself.

A haunting soundtrack performed by Sarah Moody on the cello accompanies the performance. Seated at the edge of the space, one is aware of her presence yet is never distracted as her stunning score serves only to enhance the emotions on stage.

Aside from the odd moment where it lacks pace slightly it is hard to believe that this performance of The Harbour is still a work in progress as this nautical tale is absolutely ready to set sale.