Moral issues churn against artistic integrity
By Margaret Weiringa
How can you argue against a dying child? In The Lucas Conundrum, playwright Gabriel Bergmoser has created a script that seeks to explore the complexities of this infamous issue: the protagonist Robert Stone is one of Hollywood’s most successful directors, an innovator whose fantasy films changed the way movies are made, and his soon-to-be-released film is his first return to his hugely successful franchise in over thirty years. Then an internet petition with millions of signatures begs him to let a dying child watch his film before the kid passes away, and Stone don’t want to – not until it is ready by his high standards.
Unfortunately, this promising plot about the changing power of the auteur, the modern film industry and social influence is presented mostly as a series of cocaine-fueled arguments that gradually lost my attention. The arguments built, but somehow the tension onstage didn’t seem to. Perhaps it was that the stakes did not seem high enough – the set-up was that Stone would lose everything if he did not bow to the studio’s pressure. In this production, Greg Caine offered a solid presentation of Stone as a man who was arrogantly confident that his decisions were the right ones, but I didn’t feel that this interpretation fully supported this situation as something that would destroy his career and, therefore, his life.
Chris Grant played Freddie, the man who was trying to force Stone’s hand. His character started as a believable, albeit over-the-top Hollywood-type, but as the arguments intensified, he became more and more comical, even to the point of slapstick. Despite the description “funny, (and) incisive”, the play generally seemed to be going for a more realistic feel, which made his valiant performance feel rather out of genre.
The two women in the cast, Alicia Beckhurst as Stone’s girlfriend and Angelique Malcolm as his ex-wife, both gave good performances in their roles, but disappointingly neither character was given a lot for the actors to really bite into. The female roles were quite functional and stereotyped, although there was certainly the opportunity to create characters who are more than just the relationship that they have with a man.
Essentially, The Lucas Conundrum is a good, promising production that has just missed the chance to be great. I think that the work would have benefited from further script and character development to explore an interesting premise and a complex real-world situation: who owns the art?
Where: Club Voltaire, 14 Raglan St, North Melbourne
When: Feb 17 – February 27, Tues-Sat, 7pm
Tickets: Full $20 Conc $15 through www.trybooking.com