Sweet Bird of Youth

Company:
Melbourne Theatre Company

Venue:
The Playhouse, VAC, Melbourne

Dates:
January 30 - February 23, 2002

 

 

Sweet and sour

With plenty of liquor, cigarettes, a damsel in distress, a hard luck tale, and men with something to prove, The Melbourne Theatre Company's production of Tennessee Williams' Sweet Bird of Youth captures the essence of the writer's distinct style. However, Sweet Bird of Youth has an engaging emotional intensity, which increases as the play unfolds. It deals with ambition, lost love, and the uncontrollable passing of time, which is the enemy of the central characters in their quest for greatness.

On the run from what she believes has been a disastrous screen comeback, Alexandra Del Lago, played by Wendy Hughes, is hiding out in St Cloud with her assistant, Chance Wayne, played by Guy Pearce. The relationship between the pair is based on need, as Alexandra Del Lago can't stand to be alone, and Chance sees her as his ticket to success. In addition to exploring the histories and demons of the pair, the play also reveals a contempt for the racism which was rife in the Southern States at the time of writing.

Wendy Hughes captured the movie-star power of Alexandra, while also revealing her anxieties and fear of failure. Her character changed constantly from being alluring, to commanding, needy, drunk and dignified, in a manner which only a skilled actress like Hughes could achieve. >>>

 

 

As Chance Wayne, Guy Pearce had blonde hair, a suntan and a deep southern accent to capture the spirit of the aspiring actor, who never quite makes the grade in his attempts at stardom. He has returned to St Cloud to find Heavenly, his teenage sweetheart, but faces the scorn of the town he grew up in. Pearce portrays Chance with confidence and charm, beginning as a tough guy, but gradually letting his emotions show through.

John Stanton was powerful as Boss Finley, the man in control of St Cloud, and Belinda McClory added humour as the glamorous mistress, Miss Lucy.

The set, designed by Tony Tripp, was predominantly white, and the men wore cream suits, which created an effective stylistic continuity. A television screen was lowered to show a pre-recorded speech by Boss Finley, and this was cleverly integrated into the action on stage.

It is both a risk and a blessing to feature such a professional and well know cast in the play, as audiences will be attracted to it, but their expectations will also be very high. The MTC did not disappoint, and the play combined the accomplished cast, with a stylish set and strong directing to result in a quality production.

Melinda Oliver

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