Felicity’s Score: 1.5 stars
Katie Pollock, inspired by Franz Kafka’s novella Metamorphosis, has written a play where the ‘insect’ is an extremist, and the main character is a woman (the sister). Although intentions are good, The Becoming has left a lot to be desired in its stint in Sydney Fringe.
The absurdity of the piece may appease some theatre goers, but we’re far enough into fringe now that to break out as a piece amongst the noise, boldness must present its own nuance or at least be partnered with a really tight production. Erratic drumming backstage and the genuine enthusiasm from lead Sarah Maguire are earnest enough, but I find myself disconnected from the piece. The pacing needed more guiding, especially in conversations with Maguire and Patrick Holman, I find myself wondering why two siblings in the heat of an ideological life/death argument are still leaving 2-3 seconds of silence between each cue…The energy shifts are erratic and I have no understanding where any of the yelling/screaming/crying is coming from. Even finer details, such as Jo Goddard as ‘Mum’ being halfway through a conversation on the phone before interrupting to talk to her daughter Greta (Maguire) and then never addressing the phone again, are missed time and time again. Ben Hanley and Alison Bensted are unable to be much more than plot accessories rather than being given the time and space to be the quirky and intriguing supporting roles that the script suggests is possible. To Brett Heath’s credit, the bubble wrap backdrop creates some nice opportunities for comedic staging which he takes full advantage of.
Perhaps some more time in the rehearsal room, or a reinterpretation of the script wouldn’t go astray for this one. The Becoming is showing at New Theatre as a part of Sydney Fringe Festival 15-20 September 2019.
Felicity Anderson, Theatre Now
