Review: Hammerhead (is dead)

'Bright Young Things' is exactly the moniker to apply to the cast of Hammerhead (is dead). The energy of their performance arcs from the stage, their adrenalin buzzing and enveloping the audience. Their jubilation at curtain call is palpable, and quite justifiably so.

The play begins with an accident (or not) involving his sister and a hammer, and Hammerhead (played by Brynn Loosemore) lies injured, perhaps dying.

What follows for nearly an hour-and-a-half is a delightful amalgam of fantasy and hallucination. It might reflect real experience from Hammerhead's life, distorted figments flashing before his eyes in a matter of seconds, or it might not. Perhaps he lies alone for hours, in flights of fancy, waiting, hoping to be rescued and saved from what portends — a nightmarish fate, an unexpected and undesired death.

The first character to waft through Hammerhead’s obviously addled mind is Jones (played by Charlie Garber), a beachcombing control freak visited by imaginary friends and hunting a compass — something that Hammerhead himself could use to get out of his pickle.

Garber returns later as The Vision that directs the frantically protesting, desperately struggling Hammerhead to his untimely end. In both roles he is eloquent and physically striking — at once funny, mysterious and scary.

There’s also a fine performance from Gus Murray as Denny, the spunky, uniformed war vet with glitter on his boots, a train load of baggage and more than enough charisma to completely entangle the innocent Hammerhead.

Best of all, though, is NIDA graduate Anna Houston, whose roles include Hammerhead’s sister, Mindy (a vivacious Yankee-type high-seas cruiser), and Goat — where she shows outstanding athleticism and an excellent sense for the macabre in playing what seems a cross between an overgrown lolloping puppy, a grimy chimpanzee, and the Gymp from Pulp Fiction.

The writing of Nick Coyle is inventive and intelligent, the stagecraft is imaginative. There are lines which spark a cynical laugh and a silent promise to 'remember that one' for later, but the pace of dialogue makes it a hard vow to fulfill. There is plenty to entertain.

And there is plenty of praise due the offstage team — Amelia Pulsford (producer), Steve Toulmin (sound), Brent Forsstrom-Jones (lighting), Colleen Reeks and Bright Young Things (set design), and Amanda Testa for some scintillating costume design.

I’ve read criticism of Hammerhead (is dead) for looseness of Coyle’s writing and directing, and there might be some validity in that. Quite frankly, though, I’ll happily accept that bit of looseness for the sheer vivacity, energy and exuberance on display.

It’s a bit like the early advice to Shane Warne to learn to bowl line and length before he started applying prodigious spin to the ball. Bugger that, he said, anyone can develop line and length; precious few can produce the magic associated with genuine drift and turn. And quite right.

Griffin Theatre is celebrating its 30th year and has become an institution for providing exciting, innovative theatre and for fostering new talent.

For Bambina Borracha Productions, its Stablemate partner in this production, Hammerhead kicks off its inaugural season. That really is exciting.

[RETURN TO TOP]

HOME > THEATRE > ARCHIVES 2009 >