I am re-reading the script – and I still don’t think (at least the printed version) is as bad as the production. The portrayal of the characters are very obvious with the exception of Kate Box’s Anna… and this choice to turn the farce up 100% and to lose realism I think is an unfortunate one. So I think in this case the direction, in particular the tone of the play has destroyed the potential of the script/ relevance of the story.

We are all in agreement – Australian writers should be on our mainstages. Absolutely. no question. But perhaps they should be given the freedom (or trust) to write something THEY are interested in, not given assignments to regurgitate Russian or European texts of last century?

Well, I suppose it’s OK, I like the way our theatre companies are giving new writers and directors chances every now and again, and we’ll get get fizzers along the way. But what made me want to write was, until I found my way here, no-one seemed to want to point out just how sloppy and poorly done The Business is. Generalised acting, silly caricature, lazy writing, over-design. If we can’t spot what’s poor how can we celebrate what’s great? Surely it isn’t because Belvoir’s above criticism?

Connie

Thanks for your feedback. I saw the second night performance, and I am curious to know how the rest of the run is received by punters (and industry).

I think if this production was on at the non-mainstage venue, say the Tap Gallery or perhaps Sidetrack Theatre or indeed if this was work done by an independent company – would the reviews it has received so far be as generous? Or is there a level of leniency because it is Belvoir?

There are some pretty audacious claims about the relevance of such an adaptation in relation to the Australian canon and I think they are worth interrogating. (especially off the back of such a fine adaptation such as Simon Stone’s Wild Duck)

I have not seen Sved’s direction in 10 years, so I’m not really in the position to comment, but I will say that on this occasion I do not think the tone of the production supports nor strengthens the script.

I saw the first preview and thought it was pretty horrible. Basically, to me it came across as untidy, as if the writer, director and actors were working on 3 separate plays. I laughed at Samantha Young’s costumes and Fruit Loops in a croissant. Most of the jokes fell flat.

I’ve read the reviews in the major publications. My instant reaction was that it must have been really tightened and improved over the preview period, but your comments have summed up my reactions precisely (just more concisely).

After this, Before/After and Dealing with Clair, I’m beginning to question Sved’s directing style.

Thanks for your response to my response.

I, for one, would love to hear your thoughts on what this means to someone who was alive and thriving as an adult in the 80s. My generation don’t really know what it was actually like and perhaps our nostalgia for our childhoods over-shaddows the true feeling/spirit/aura of the 80s.

I really don’t think I have pinned the problems of the production – but I am taking great care in re-reading the play as I am such a massive Jono Gavin fan – and I would love to know what you think I may have missed.

Looking forward to reading you… as always,

Augusta