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Interview: Allison Browning
LOCAL writer and director, Diana Day, is in the last stages of
rehearsal of her most recent play, Agency, which
will soon be showing at The Blue Room.
Agency takes a comic approach to the dating game, looking
at the possibility of perfect matches between imperfect people
and the fun to be had in the process. Day hopes that Agency
will provide a titillating sexual smorgasbord for her audiences.
Indieperth had the pleasure of speaking with the woman herself
- unafraid to put herself out there and gain first-hand experience
in the dating game.
What's the show about?
The eternal search for reciprocated love. It's about eight imperfect
people seeking perfect matches. It's about the vast chasm between
how we see ourselves and how we are seen, about the need for honesty
and an acceptable level of compromise in every successful relationship.
The story line is that Lillith's agency is under threat of closure
and she needs a tremendous success in improving the sum of human
happiness in order to win out.
She realises that the obvious failures of computer matching
stem from human cunning and self-deception and uses her millennia
of knowledge to match them with total success.
How will it relate to Perth audiences?
I hope it would relate to men and women everywhere. Agency
is actually located in the Garden of Eden which, as every Perth
resident knows, is right here. I chose the Garden as my characters
are all somewhat outside the 'real' world, having put an important
part of their lives on hold.
Legend has it that Lillith, Adam's first wife, was sacked for
disobedience (she refused to perpetually adopt the missionary
position) and stayed in the Garden to later tell Eve the truth
about the apple on the Tree.
I imagine she would have remained to care for the casualties
of carnal love that followed the eating.
Although it's particularly aimed at the 40+ age group, we have
a delightful young gopher who has passed the script around her
20-25-year-old mates and the response has been, "but that's
so TRUE. That's the way we feel about things'.
I now quiver with indignation at Hamlet's speech to his mother:
"You cannot call it love; for at your age, the hey-day in
the blood is tame, it's humble, and waits upon the judgment..."
(Act III Scene iv)
But I needed to pass my 60th birthday to understand that the
only difference between my current self and the hopes and dreams
of a 20-year-old is that we get a bit more cunning at hiding our
vulnerability's. And perhaps a bit more sensible about compromise.
What compelled you to write the show?
I had advertised in 'Women Seeking Men' - the ad began 'Good
cond, low maint, 60'... finishing 'allergic to swank, PC and SNAGs.
Seeks similar for physical and mental entertainment.'
I met a number of most interesting men and it was in conversation
with one who was entertaining me with some of his experiences
in the middle-aged, post-divorce mating game that I thought, 'there's
a script in this'.
I must say that three of my respondents were very enthusiastic
about the idea and contributed significantly to the script. I
expect to see them all at the show with their current 'significant
others'.
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What are the challenges for
you in directing this piece and what is your approach to the process?
I believe a director's purpose is to create the situation in
which actors do what they do best.
You might think it's a bit of a problem having one actor play
four men, one actress play four women, but my cast - as well as
the SM [stage manager], who's been a very strong creative influence
- has shown such ingenuity and enthusiasm that although I think
the script wasn't half bad when I got the green light from the
Blue Room for its production, it wasn't anywhere near as good
as it is now, with such intelligent and generous input.
I was very impressed some time ago with an SBS feature on Lars
Von Trier and the 'dogme' school of film directing. One of their
commandments is that a film be shot from beginning to end, so
that the actors can develop with the script.
I have run the rehearsals on alternate nights on Acts One and
Two, with Sundays for a full run from beginning to end.
We have, of course, dissected each character - and I've learned
a lot from my actors who are, perhaps, more focussed on the individual,
whereas I am looking at the whole.
This timetable has meant the actors are developing their roles
together, reacting to one another in a way that would not have
been possible had I said: "Here's the script. We start blocking
once you've learned it."
And because it's my script we could start from the point that
the words aren't chiselled in stone, that changes can be made
as new ideas and understanding come with familiarity.
I think that the actors were delighted when I said, 'no more
changes' - the poor souls quivered each week I turned up with
a few more subtractions/additions because there's always room
for improvement.
That's my main challenge - knowing when the lily's as gilded
as it can comfortably be.
What do you hope audiences will take away with them after
seeing the show?
I really hope that they will be looking with fresh eyes at the
good things in their relationships, rather than yearning for what
they do not have. And that for those who are still seeking, they
burn into their souls: "If you want to be loved, be lovable."
And I also hope they'll have the warmth of a good night out,
with some fairly bawdy humour and some classic jokes to retell.
And that both men and women will acknowledge the truth of Alice's
speech: "Of course, women are as interested in sex as men
are. Real sex, I mean. If men want a couple of grunts and a quick
squirt, it's in their own hands."
There's been a fairly favourable response to that little observation
from both genders.
I hope that they see I've been even-handed in the male/female
balance. As Lillith says: "Men aren't from Mars and women
from Venus. We all want the same things, just in different amounts
and at different times."
I believe that.
Agency runs from August 11 to 28 at The Blue Room, Northbridge.
Bookings: 92277005. |
