theatre review: holding the man by tommy murphy
Based on the autobiographical book by Timothy Conigrave, Holding the Man tells the story of a romance which begins in high school and lasts until both partners die. It’s an enduring love, often shaken but never broken, ending only when the HIV which both Tim (Luke Clayson) and his partner John Caleo (Nic English) have contracted finally takes their lives. You might be able to guess from the storyline that the play is set in the 1970s and 80s, when HIV/AIDS became well known for both its devastating symptoms and death toll.
Act one in particular is jocular and vivacious, Murphy’s script highlighting the comedy of John and Tim’s journey through high school and university, before illness crosses their paths. The cast swaps between many characters, with Nick Pelomis’ turn as Juliet’s mother particularly memorable and Catherine Fitzgerald shining in her many roles be they mother, teenager or night clubber. Clayson’s energetic Tim contrasts nicely with English’s more subdued John, and their partnership is gentle and playful (if a little shallow).
The fast-paced script has prompted director Rosalba Clemente to keep all actors on stage, sitting to the side when not needed. Changes in time and place are numerous and occur swiftly, with snap lighting changes accompanied by actors jumping in and out of scenes as required. These transitions keep the pace lively and allow for the two decades of story to be traversed, but on occasion seem a little too fast, as allowing just that extra few seconds before changing the lighting would allow for a greater emotional impact. Nonetheless, the changes certainly heighten the comedy of act one.
It is when both men discover their positive HIV diagnoses that the script really crosses into dramatic territory, especially to those who know the story and can anticipate the inevitable: John’s death with Tim at his side. Portrayed with the use of Stephanie Fisher’s puppetry, this moment seems to lack the punch I was expecting and although I could acknowledge the sadness, I couldn’t actually feel it. My removal from the emotion of John’s death surprised me, yet I feel as though I can’t fully comment on the moment due to a loud, ill-timed mobile phone ringtone that sounded during the key moment at the session I attended. Maybe if the phone hadn’t rang, maybe if I had more personal experience with death, maybe if the portrayal were changed somehow – I can’t say what could have helped here.
Lack of tears aside, Holding the Man is a strong production enhanced by Morag Cook’s set, three segmented bookcases which arch over the stage and slowly fill up with mementos from Tim’s life. Fans of 80s pop will be pleased by the inclusion of Kate Bush’s Running Up That Hill, which is put to good use in a key moment. There’s lots of talent to admire, many laughs to be had, and a hilarious group masturbation scene which will likely stay with you for a long time.
I then attended Holding the Man’s accompanying Red Carpet Party in the Festival Centre’s Set Workshop, a large room adorned with props and set pieces from many past productions. A production such as this called for an array of 70s tunes and once the wine (or wine and lemonade, in this reviewer’s classy case) started flowing, there was no stopping the bopping. My one gripe would perhaps be more vegetarian nibbles, but considering that you can chat to and/or stare and point at the actors and other creative types, such a complaint fades away. It’s the type of night where the atmosphere is thick with a communal love of theatre, and which seems to appreciate the days in which people dressed up to attend it – both things to be thankful for.
State Theatre Company of South Australia’s Holding the Man plays until November 13 at the Dunstan Playhouse. Tickets from $29 at Bass. More Red Carpet information here.
(Image credit: Matt Nettheim)
