by Vicky
Reynolds
Sprat Boy Productions
at Trades Hall until September 24, 2000
Reviewer: Kate
Herbert
Strippers have their
own raft of problems associated with work conditions. Their concerns are not about superannuation
and promotion opportunity, but about safety, length of career and ageing.
Daily Grind, by Vicky Reynolds, highlights the most
significant change for strippers in recent years. If they don't work 'hot', they
will starve.
'Hot' means anything beyond the simple bump and grind. It
might involve live sex acts on stage at a footy club turn or demeaning acts
with a vibrator.
Either way, it leaves the women vulnerable both emotionally
and physically.
This play originated at the Melbourne Workers' Theatre some
years ago to address workplace issues for strippers. This new production,
featuring Inga Norgrove and Katharine McErlean, is not nearly as theatrically
successful as the first.
The script itself has emotional power, but its flaws are
more visible in this production because of the intermittent awkwardness of the
acting and direction. (Helen Doig)
The show lacks the subtlety required to maintain the balance
between the lurid stripping and the emotional drama. At times it feels like a
peep show and we have trouble concentrating on the personal and political
rahter than the physical.
Roxy (Norgrove) is a 22 year old trying to save to go back
to school. Louie (McErlean) is 30-something and at the end of her career. The
play shifts between Roxy's first gig at 17 under Louie's mentorship, to five
years later when Roxy supports Louie after she is humiliated on stage by their
boss.
There is merit in this production. There are moments when
Norgrove and McErlean find both the comedy and poignancy in the characters and
the relationship. Norgrove is a bright and confident dancer who is generally
credible as the youthful Roxy. McErlean finds moments of ease as the older
stripper.
The major problem is the uninspired direction. Scene
transitions are clumsy and characters act out their stories awkwardly.
The lighting (James Clavering, Joe Coleman) could have assisted
the performance further with greater variety and by closing down the space to
create a more distinct spotlit strip club stage.
The strip scenes are graphic 'exotic dancing' but they are
accompanied by some moving and politically enlightened dialogue.
However, if you are coy about full frontal nudity, this may
not be the show for you.
By Kate Herbert
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