Rabbit Hole

Reviewed by: Theatreview

Date: 6th November, 2012

Reviewer: Gail Pittaway



TOUCHING AND UPLIFTING

 

David Lindsay-Abaire's Pulitzer Prize winning play brilliantly depicts a family group still in a state of crisis well after the traumatic events of the loss of a loved one.

A married couple, Howie and Becca, have grieved in such different ways over the accidental death of their very young son that they have become estranged from each other. Becca's grief imprisons her in ways that even her mother and sister consider odd; she does not weep but goes through motions in a meaningless orbit of chores and cannot break through the drone-like horror of her sadness.

This is not an easy play to watch and an even more difficult one to stage, yet the movement through the labyrinth of loss is ultimately inspiring.

Viv Aitken gives a tense, serious reading to this part, with convincing effect. Her emotional containment is palpable and the impact on those around her unavoidable.

Nick Clothier's Howie is warm, sincere, puzzled. Both have moments of emotional eruption they manage superbly. It's a dignified and focused piece of collaboration.

Despite the subject matter, however, there are unexpectedly funny moments between these two when flashes of their wit and intimacy flare up, or from their encounters with the two other important characters, sister Izzy and mother, Nat.

Fiona Sneyd is charmingly whimsical as Nat; illogical, given to random pronouncements and utterings on irrelevant subjects such as Kennedy family secrets, food and manners, reminding us that the play's original setting is in the USA. She too has lost a son, Arthur, although he was 30 and died of a drug overdose, unlike her grandson.  Her insistence on having her own grief acknowledged is one of the recurring motifs of the dialogue: Becca wants to be the only person who has lost a loved one; the fact is, she is not. 

One of the finest scenes in a production full of great moments, is when Becca and Nat tidy away the toys from Daniel's room. Whilst they are musing upon his children's books and some of the mad toys that will go into storage or to other homes, Nat explains how, even though the stone in the pocket that is grief doesn't go away and you always carry it, it becomes fine, okay.

The character on whom the plot turns is that of Becca's sister Izzy: bohemian, irreverent and messy but very much engaged with the world. She has formed a new relationship with an offstage character, Auggie, who sounds even more chaotic than she and the play opens with her gradually unfolding the tale of a violent encounter with Auggie's ex girlfriend just before revealing that she is now pregnant.  Unafraid of confrontation, clearly, as she was dishing the violence in the earlier story, she challenges both Becca and Howie over their lifestyle, their conflicts and unresolved tensions.

Stephanie Christian's Izzy is so unrestrained that she is a great foil for Becca' tension and Howie's frustration. Christian, however, resists the temptation to make her ditzy and this performance, while achingly funny, is also nuanced with the sadness of Izzy's sense of inadequacy.

The character with whom the title and theme are revealed is the college student, Jason, whose driving had killed Danny. He tries to meet with Becca and Howie to apologise and talk about the tragedy and finally sends them a story he's written for school, about a boy who goes in search of his father who has died, through parallel universes, like rabbit holes, of which our own world is but one of many.

Philip Garrity is suitably awkward and gauche in this part and the scene when Becca finally arranges to meet him in secret is another stunning moment, with the image of hope in parallel worlds delivered by a boy who has ended hope in this one. Conor Maxwell is also sharing this role on several nights of the run.

Poole's set design exhibits her usual high standards with an open home displayed; a lounge, with working video recorder that Howie plays in secret to watch a gorgeous home movie of his young boy; the son's room complete with fancy lamp books and robot bedspread; and, most impressively, a proper kitchen bench and fridge (with delicious looking sweet treats such as crème caramel and lemon squares). The use of a standard lamp in the lounge lighting, too, is austere, aloof and stark. There is no elephant in this room, just a small green dinosaur tucked into the video cabinet.

With fine sensitive snatches of music, and moments in darkness at the end of each act, for the wiping away of tears, this is a touching and uplifting production, which I hope many will have to courage to get along to see.


 

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Reviewed by: Waikato Times

Date: 6th November, 2012

Reviewer: Aimie Cronin


GREAT INSIGHT INTO EMOTION
 

There’s a grim kind of voyeuristic delight in watching other people struggle. When we suffer, most of us take it home and offload it onto the people we love the most. The public doesn’t get to witness these intimate, messy scenes, and if we do it’s because we’re watching something we probably shouldn’t be.

When the lights came up on the latest Carving in Ice production, Rabbit Hole, the audience got to watch a family struggle with their grief and it was utterly riveting. In part because of outstanding writing by David Lindsay-Abaire (it’s a Pulitzer Prize-winning play), and also director Gaye Poole’s sensitive and delicate work, and exceptional casting.

The central characters in the play, Becca (played by Viv Aitken) and Howie (played by Nick Clothier), are coping with the loss of their son. Their grief is very different.

They are starting to lose each other as they try to cope.

Aitken’s performance is bang on from scene one when she is folding the washing while talking to her sister Izzy (played by Stephanie Christian). We know something is up. Aitken’s ability to permeate tension through each scene was admirable.

Clothier’s performance was just as effective.
The supporting cast was also excellent.

Christian was pitch perfect in her portrayal of the flippant youngest daughter who’s trying to get back on track and Fiona Sneyd who played their mother (Nat) gave an elegant performance.
Near the end, Nat and Becca talk about whether the pain of grief lessens. Nat says it
doesn’t, but it becomes bearable. It was one of the most powerful scenes I have seen in a long time. This is local theatre at its best. Go see it.

 

ABOUT US

The metaphor of Carving in Ice evokes the transience of theatre. Ice sculptures are crafted by artisans whose sculptures last only for a short while, then melt and disappear. Theatre too is ephemeral in its nature; once the season is completed, the existence of the play, the shapes, sounds, movement in space, the light on actors’ skin disappear from view – but as with ice sculptures the traces of the experience continue to live on in the minds of those who were present.

CONTACT US

Email:
info@carvinginice.co.nz
director@carvinginice.co.nz
publicity@carvinginice.co.nz

 

 

ABOUT US

The metaphor of Carving in Ice evokes the transience of theatre. Ice sculptures are crafted by artisans whose sculptures last only for a short while, then melt and disappear. Theatre too is ephemeral in its nature; once the season is completed, the existence of the play, the shapes, sounds, movement in space, the light on actors’ skin disappear from view – but as with ice sculptures the traces of the experience continue to live on in the minds of those who were present.

CONTACT US

Email:
info@carvinginice.co.nz
director@carvinginice.co.nz
director@carvinginice.co.nz