Alana’s Score: 3 Stars
Pulitzer Prize winner Annie Baker’s John has had its Sydney debut at the Seymour Centre. Buckle up – it’s a long, slow-moving, delicate piece of theatre.
Jenny and Elias have come to Gettysburg for the weekend to get away, to try and heal their fraught relationship. They’re staying at a Bed and Breakfast run by the mysterious Mertis, an older lady with a penchant for, well, things. Her house is full of little trinkets and dolls, miniature houses, ornaments and throw cushions. Jenny and Elisa don’t quite know what to make of the house or their host, but settle in for the weekend.
At three-and-a-half hours long, you’d better prepare yourself for the long haul. Baker’s play is in no rush to take you on the journey – so much so you might even question if you’re actually moving.
The lengthy run-time proves difficult – do audiences want long plays anymore? Attention spans are wearing thin. Even with something like Shakespeare, which you KNOW is going to be long, it’s difficult to hold fascination. He knew that, hence all the blood, gore, drama, comedy, disguise and intrigue. John doesn’t have any of that. Maybe I’m meant to say that it doesn’t need it.. And don’t get me wrong, I adore a good Pinter or Ibsen, which tend to be full of intricate, thrilling, tension-filled pauses. But John is a delicate piece that director Craig Baldwin spins out with too many (for me) loooong, barren pauses.
Performances on the whole are solid, with Belinda Giblin gifting Mertis with an eerie presence, and Maggie Blinco injecting some energy as the eccentric Genevieve. As Jenny, Shuang Hu has some lovely moments, as her character begins to open up. James Bell’s Elias is a little stiff and stagnant to begin with, but found some authentic movement later on.
Set and costumes by Jeremy Allen are the real highlight. Mertis’ B&B is overflowing with things. Allen has captured layers upon layers of intricate detail with endless trinkets and doors leading off into other parts of the house we never see. His costumes are evocative and individualistic, just as detailed as the set. Lights by Veronique Benett and sound by Melanie Herbert tie everything together nicely.
There’s a lot to unpack in John. There are many references to be discovered, many of which will go unnoticed even by the most discerning audience member – the production comes with a glossary of terms, for anyone interested in further learning. It would be foolish to say that it’s just a slow-moving play set in a stuffy B&B in America. But at the same time, there’s not a lot to keep it moving. There are some hallmarks of classic horror tropes – flickering lights, creepy dolls, creaking floors, a weird hostess. But the tension never builds enough to be gripping, so we’re never quite enthralled.
Alana Kaye – Theatre Now
21 Sep – 12 Oct 2019
Venue: Seymour: Reginald
Theatre Company: Outhouse Theatre
Duration: Aprox 200 mins (including intervals)
Ticket Prices:
Full $47
Concession $38
Previews $33
plus booking fee
Tue – Sat 7:00pm
