Be careful what you wish
Lynn Freeman
Slouching Toward Bethlehem, Directed David Lawrence, Bats Theatre, to September 10. Reviewed by Lynn Freeman
YOU can rely on Dean Parker to deliver a no-holds-barred political satire, though this critique of Sir Robert Muldoon starts off with a great deal of sympathy for the short, poor bullied young Rob whose father was in an asylum. Muldoon is often portrayed as the ultimate illustration of that old adage, ‘power corrupts but absolute power corrupts absolutely’. So why now for this play about him? Well it is 20 years since he left Parliament, and of course this is election year.
The play spans the 1930s, the depression years where young Rob is influenced by his highly political, arch conservative uncle, through to his death (and a drippy closing scene which clashes horribly with the rest of the play). If this is irony, it doesn’t come off.
Parker, director David Lawrence and the return of Lawrence’s company The Bacchanals do a sterling job of representing a veritable army of characters. It’s excellent ensemble work, with Phil Grieve at the heart of it playing Muldoon. He didn’t need the dimple to pull it off, just precision acting and the former PM’s mantra about understanding and representing ‘ordinary New Zealanders’. Brianne Kerr as the loyal Thea Muldoon was right on the money too, showing flashes of steel when her husband pushed her too far. In a large and dedicated cast, Jean Sergent also shone through, especially as Muldoon’s grandmother…right down to the cackle she passed on to her grandson.
The play moves apace and I wonder how those who don’t remember the Muldoon years will manage at times, however entertaining the production. One of the highlights is set at Sweetwaters where a group of young lefties sing an ode (dripping in sarcaism) to the Prime Minister. Great work also from those playing the increasingly concerned National MPs who came to regret pushing so hard for the man who got them all back into power. Be careful what you wish for seems to be one of the pervading themes in Slouching to Bethlehem.
YOU can rely on Dean Parker to deliver a no-holds-barred political satire, though this critique of Sir Robert Muldoon starts off with a great deal of sympathy for the short, poor bullied young Rob whose father was in an asylum. Muldoon is often portrayed as the ultimate illustration of that old adage, ‘power corrupts but absolute power corrupts absolutely’. So why now for this play about him? Well it is 20 years since he left Parliament, and of course this is election year.
The play spans the 1930s, the depression years where young Rob is influenced by his highly political, arch conservative uncle, through to his death (and a drippy closing scene which clashes horribly with the rest of the play). If this is irony, it doesn’t come off.
Parker, director David Lawrence and the return of Lawrence’s company The Bacchanals do a sterling job of representing a veritable army of characters. It’s excellent ensemble work, with Phil Grieve at the heart of it playing Muldoon. He didn’t need the dimple to pull it off, just precision acting and the former PM’s mantra about understanding and representing ‘ordinary New Zealanders’. Brianne Kerr as the loyal Thea Muldoon was right on the money too, showing flashes of steel when her husband pushed her too far. In a large and dedicated cast, Jean Sergent also shone through, especially as Muldoon’s grandmother…right down to the cackle she passed on to her grandson.
The play moves apace and I wonder how those who don’t remember the Muldoon years will manage at times, however entertaining the production. One of the highlights is set at Sweetwaters where a group of young lefties sing an ode (dripping in sarcaism) to the Prime Minister. Great work also from those playing the increasingly concerned National MPs who came to regret pushing so hard for the man who got them all back into power. Be careful what you wish for seems to be one of the pervading themes in Slouching to Bethlehem.
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