POV (Point of View), is an extraordinary undertaking, unlike anything I have seen before. A 14-year-old – played by alternates on different nights (I saw Mabelle Rose, while the other is Edith Whitehead) – assumes the role of an 11-year-old girl. She, who is fully aware of the conceit of the piece, interacts with two professional adult actors (who change from night to night), who play her parents.
When I attended, the pair was Katherine Tonkin and Steve Mouzakis. Unprepared and unrehearsed, they are not in on the storyline, save for the fact that the male is asked to familiarise himself with German documentary filmmaker Werner Herzog. The female must word herself up on mental illness.
And so we begin. The girl is in control. Known as “Bub”, she sets the parameters. Her mum’s name is Penny. She is 42 years old and a ceramic artist. She is preparing for a major exhibition and she is tired. Her dad’s name is Michael. He is aged 40. A microbiologist, with a PhD, who now works in a brewery, he met Penny 16 years ago at a silent disco. In no hurry to tie the knot, they were married 10 years ago.
Bub asks her parents to say and do specific things and to interact with each other. It starts with an argument about picking up their daughter. Frequently, she is filming these interactions, with close ups appearing on four video screens. There are also music stings that reflect mood and tone. At first, what we witness is often hilarious, but underpinning it is something far darker.
When her parents get loud, Bub seeks solace on her own on the railroad tracks. She wants to interview her mother, but mum isn’t being cooperative and when Bub finally does talk to her on camera, she doesn’t get what she is after. Bub turns to Werner Herzog for advice. It becomes increasingly clear that Penny is not being deliberately distant or uncooperative. Rather, she is suffering from significant mental health issues. She has manic episodes. She becomes withdrawn, dejected, depressed. Michael tries to shepherd Bub through those rough times, but he struggles and so does she.
POV is a brilliant, innovative piece of theatre (in fact, it is a combination of theatre and filmmaking), conducted in a safe space. I say that because as it involves child actors, a chaperon is on hand throughout. While the language has been deliberately chosen, the children are, and have been, well prepared.
What we see is happy, witty, sad, challenging and dramatic. How should we speak with our children about mental illness? How much do we tell them? How do we tell them in language they can understand and make sense of? Written by Mark Rogers, director Solomon Thomas has drawn on close familial experience with bipolar to inform the piece. Frankly, POV feels raw and real.
I can’t speak highly enough of the performances. Mabelle Rose belies her years in knowing exactly which way is up and ensuring her seniors do as they are asked. She ensues a seamless transition between scenes, asks probing questions when they need to be asked and is convincing with her fits of pique. I can think of no greater way to challenge an actor than putting them on the spot.
That is exactly the hoop that Katherine Tonkin and Steve Mouzakis are asked to step through and both come through with flying colours. They express emotion. They channel fear and pain, as appropriate, and have a great deal of fun along the way. It was exciting to watch them in action without their usual safety blanket, being a full script.
POV is a step off the deep end that carries with it warmth, wonder and worth. It is on at The Showroom, at Arts Centre Melbourne until 8th June, 2025.
Alex First
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
