Mercury Fur by Philip Ridley
Stablemates, Griffin Theatre
28th September 2007
This the full text version of the review which appears in The Daily Telegraph
Just when you think you have seen some very good theatre of late, a production like Mercury Fur comes along and raises the standard to a whole new level. This is theatre that taps you on the shoulder and smacks you in the face. It is theatre that is vibrant, muscular and breath-taking. 
But be warned, this is not the show to go to on a first or second date, as one unlucky couple did on the night that this reviewer went.
When Mercury Fur by British playwright Philip Ridley first opened in the UK in 2005, it fiercely divided critics and caused such contention that Faber & Faber refused to publish the text. This production which has travelled from Melbourne has been similarly divisive.
Mercury Fur is set in derelict London. It’s a dark fairytale world where society is on the brink of destruction, where gangs rule the streets and solitude is hard to find. Unless, of course, you can get your hands on some magically potent butterflies.
Elliot (Luke Mullins) and his younger brother Darren (Xavier Samuel) are on the search to find an abandoned warehouse so they that can get prepared for the arrival of party guests.
However this is no ordinary fiesta. In this derelict world there is just one party guest who arrives to act out his ultimate sexual fantasies on what the characters refer to as the ‘party piece’. With much of the physical violence occurring off-stage, the text replaces it with a language that is deliciously colourful.
It’s a despairing and brutal world which breaks down borders and nationalities and brings home the clear message that destruction is so much closer than you think.
Director Ben Packer along with designers Adam Gardnir, Danny Pettengil and Kelly Ryall have created a suitably horrific production with a cast that fill their roles with such vitality that by the time the curtain falls, you become totally disorientated. This is a roller-coaster of a play
But for the young lovers who attended on this particular night, the sight of the boyfriend leaving without saying goodbye might caution other viewers to choose carefully who you take. Either that, or go it alone.
Friday, 5 October 2007
Review: Mercury Fur
Posted by Nicholas Pickard at 9:57 am
Labels: British Plays, Directing, Independent Theatre, Theatre
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3 comments:
I agree with you Nicholas, and especially enjoyed Luke Mullins' performance. programs such as Stablemates, the work done at the Old Fitzroy and the Darlinghurst (fantastic production of "An Undeveloped Woman" on now--see it!) are a vital part of the Sydney theatre scene, and it is great that the newspapers now regularly review their work. What I find somewhat troubling however, is when independent or fringe or co-op (ie non salaried) theatre becomes confused with community amateur productions. Yesterday one of the tabloids included a review of the Willoughby amateur society's production of "Cabaret" alongside its other reviews. I don't think it is fair for the hardworking professionals, Equity members all, who dedicate their craft to independent theatre to be categorised by critics as the equivalent to community amateur groups. What do you think?
Thanks for your comment equity... I am glad that you liked mercury fur as much as I.
The great news from all of this is that Luke Mullins is now a part of the STC Actors Company. A well deserved accolade for one of the most diverse performers I have seen of late.
The show on at the Darlo is - An Unfortunate Women - and indeed a great show. Review to come.
In regards to your comments about the Sun-Herald reviewing amateur theatre groups. There are probably a couple of things you should consider.
Willoughby Musical Society, as well as Genesians and a wide range of community groups all pay for the Fairfax theatre directory just like every other theatre group and company in the city - and have done so for years. Is it fair that they NEVER get reviewed, despite paying through the nose year after year? I don't think a privately employed theatre critic really considers who has MEAA membership -It's all theatre isn't it?
And I think that it is also fair to say that last week, they were the shows that were opening and that Jason probably, on that basis, chose to go along.
Fair comment, Nicholas. I guess my reaction stems from knowing the struggle actors and directors in the independent world have in being recognised as professional despite the fact they are unpaid. But I fully appreciate your view that any theatre group that pays to advertise deserves recognition.
PS-Great news about Mullens in the Actor's Company--the regular infusion of fresh blood into that group can only make it more exciting.
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