Charlie and the Siberian Monkey Goddess

The auditorium was laid out in semi-cabaret style with the raised seats fronted by a number of tables and chairs, and the stage was open to view.  Rustic tables, bench and chair stood before flats decorated to convey ivy-covered walls.  This was a good set, simply but effectively setting the scene of a tranquil garden.  Up centre was a screen that caught our attention to start the performance by rolling an historic-looking film of Hollywood-style captions and ‘countdown’ with honky tonk piano accompaniment.  We were instantly drawn in.  Now, sadly, I’m told that the projection was not working properly on the night I saw the show so the backdrop it supplied to the action of both plays was not as the company would have liked.  Nevertheless, without knowing that in advance I was prepared to accept the rather dim images displayed as being a mere indication rather than a full-colour stage set.  It is hard to imagine now what that would have looked like.  The picture of a shadowy garden path gave depth to the performance.   The lighting  required little other than sunny afternoon in the garden and if there were changes I should have noted then I was too gripped by the acting before me to do so.  The one I did note was that made in the final moments, definitely adding to the poignancy of the finale as the lone figure sat weeping.  

Few props were needed - Dancing feet, cane, mug, papers and handbag with banana (respect to the actress eating while talking).  Everything seemed to be where it should be and was handled deftly.  The Costumes were straightforward enough – Charlie Chaplin suit and skirt and top, and it was a very neat switch as the performers changed their clothes on stage in full view of the audience.  A well-planned sequence of moves allowed the swap to take place smoothly and in an unhurried manner.  

Charlie and the Siberian Monkey Goddess showed us two consummate actors who were sensitively matched in their strength and abilities.  They took us through an incredibly difficult script with an ease that belied the challenge of keeping up with all those repetitions.  It was, from both of them, a remarkable performance.  I admired the decision to play the monologue of exposition/diagnosis all out front and the final twist in the tale was thought provoking as intended.  (This play was shown in a double bill of two one-act plays:  See Exposure)

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