Editor’s Note: this review was originally written in Comic Sans.
“Down it all comes”… and cum it does, alright.
‘Fangirling’ may be the word I have for this show. In the hours since I saw the actors take their bow, I’ve had this incurable grin on my face, and I might have to get that checked out if it sustains. The Sydney University Dramatic Society’s (SUDS) first show of the year has set the tone for an incredible season of student theatre to come. This production of Edward Albee’s 2000 play ‘The Goat, or Who Is Sylvia’, directed by Felix Tonkin and produced by Ruby Scott-Wishart, is nothing short of masterpiece — strong words for a cynic.
The 4-person cast had me leaving Chippen Street Theatre awestruck, my friend Bee and I giggling the whole way home, trying to put together what we just witnessed. This is my attempt to put it into words with minimal spoilers and maximal flattery.
Director Felix Tonkin’s mark is felt in every corner of this production — stylistically, in the actors’ mannerisms, and in every single movement made. As a director, he brings a sense of boasting life to the stage. He has this amazing ability to conduct extremely lengthy scenes in a refreshingly captivating way.
None of this is achieved without an all-star cast.
James Wily as Martin powers through this show, onstage for every moment of the 1 hour 40 minute play. What a hell of an actor it takes to endure such a show with constant fire and presence. He is brilliant at playing a character so convicted and brainwashed by his sick and twisted love that we’d almost empathise with him were he not so ridiculous. His ending is so conflicting, playing a ruined and heartbroken man who is just so out-of-this-world absurd, yet able to make us care for this genuinely twisted character.
I had a chat with him after the show about his preparation for such a role, and how he was able to seek out the truth in the character’s seemingly unfathomable viewpoint. Wily said he found this sense of empathy by finding the lack of “choice” in his character Martin’s cowardice — a difficult, and wonderfully executed, task for any actor. This reality he created for Martin really showed off his acting chops and prowess, not just going for the easy comedy of it all, but truly delving into what makes this character so insane (which makes it even funnier!)
The electricity between Wily and co-star Aidan Hale, who portrayed Martin’s best friend Ross, was incredibly palpable, a shock of the best kind. Hale just lights up the stage, and he is genuinely such a joy to watch, a master of physical comedy. If James Wily is the eyes, Aidan Hale is the brows (and not in a metaphorical sense, that man can seriously move his brows.) Every time he contorted those devilish things another wave of laughter would ensue.
Though I would love to make Ella McGrath the hair, because the hairography was strongly noted, she is absolutely the mouth — she speaks for us all. McGrath as Stevie, Martin’s wife, is 1000% the MVP. The physical, mental, and emotional effort put into every single line, the attention to detail in painfully long scenes, the ability to ebb and flow and reveal new sides to the character in a show that constantly sits at great heights is simply astounding. The power and conviction in McGrath’s monologue is incredible, depicting a woman on the brink who still holds so much control over her pathetic husband — she is the cuckquean we don’t deserve, but we are so graciously afforded.
Sadly I don’t have a facial feature for Eli Reilly’s Billy (they can be the nose if they’d like?), but what I do have is mad respect. Billy, Martin’s notably gay son, was not the annoying side character I made him out to be. I won’t say too much, but I will say the father/son relationship definitely takes… a journey.
Riley Clare and Natalie Yeung’s set design worked perfectly in tandem with this chaotic show. Destroyed then put back together, the stage formed itself in a way that was almost sitcom-ish, making everything even more absurd. Two words for costuming… red hearts (if you know, you know). Finally, big love to Adele May for the legendary goat prop — I loved and hated how real it looked.
I could talk about The Goat, or Who Is Sylvia? for hours on end, but my most important point is go see this show! You can catch it at Chippen Street Theatre on the 13th and 14th of March!
