'Round again
Hello
Again is a musical adaptation of the play Der Reigen,
written by Viennese playwright Arthur Schnitzler in 1900. Der
Reigen has been variously interpreted as Hands Around
or Round Dance (La Ronde). These are nicely
ironic titles given the themes of the play are sex, intimacy and
love. Dancing has always been a metaphor for sex – a vertical
expression of a horizontal desire, as the saying goes. Indeed,
Colyer uses dance in this production to represent the sex act
to great effect.
Der Reigen was first performed 20 years
after Schnitzler wrote it. Scandalised by the graphic depictions
of sex and its criticism of Viennese morality, people rioted in
the streets of Berlin. As a result, Schnitzler was brought to
trial on obscenity charges. He was acquitted, but banned any further
productions of Der Reigen during his lifetime.
Since then Der Reigen has inspired such
modern works as David Hare’s The Blue Room. American
composer and lyricist, Michael Lachiusa, wrote his musical adaptation
of Der Reigen in the early 1990’s. The structure is basically
the same as the original. The play depicts the sexual encounters
of ten characters. The scenes are linked by the transition of
one character from each scene to the next. Lachiusa has modernised
the subject matter by having each scene ascend through the decades
so the first encounter between a prostitute and a soldier is set
during a war, another on the Titanic and the last in the 1960’s.
The play comes full circle in the final scene with the prostitute
and the senator. In the original play the senator is a count.
The attempt at modernisation is understandable,
but probably not totally necessary. Sex, relationships and intimacy
are universal themes everyone can relate to. Even if you don’t
venture out that often, popular culture and an invention known
as television give you voyeuristic access to stories galore about
love and licentiousness. Besides which, Schnitzler had a thorough
understanding of sexuality and its influence on identity. Sigmund
Freud was a close friend of Schnitzler’s.
Schnitzler details the characters’ exploits
quite graphically as they use sex to escape unfulfilling relationships,
to scratch an itch, as a weapon, a means to an end or to conform
with social norms. It’s all in the pursuit of intimacy and
to escape isolation, but often the attempt to connect has the
opposite effect.
In the 1900’s, Schnitzler’s play was
branded pornographic. Today it’s more voyeuristic than anything,
and this is certainly the case with Colyer’s production.
The play features straight and gay love stories, which is so refreshing
to see in a modern play. The costumes don’t leave too much
to the imagination but there is no nudity. Some of the action
is very in your face, but it’s all in good taste.
The set is sparse. As you might expect, a bed is
de rigueur. The costumes use orange, beige and blue, providing
a subtle continuity of theme and experience throughout the play.
A mesh curtain is made good use of to interpret the space and
the live music is a great touch.
The cast are an all round talented bunch, most of
whom have specialised in musical theatre. The quality of the voices
was a very pleasant surprise. Callingham, Stiles and Keegan in
particular rate a special mention for their stage presence, acting
and singing abilities. But really, the play is an ensemble piece,
with the individual members contributing to the impact of the
play as a whole. There are a few scenes where a chorus is used
to great effect. In particular, a three piece medley in the style
of the Andrews Sisters, which featured some gorgeous harmonies.
Hello Again is a raunchy romp through the
bedrooms of some lonely and sometimes mean people. Lachiusa’s
songs beautifully capture the longing and melancholy of the search
for love. Colyer’s choreography and direction evoke the
whimsical, the tragic and the humour inherent in our pursuit of
pure lust and real love.
Philippa Wherrett
