Free from teenage years and constant parental observation, one of the joys of turning twenty is getting to better know one’s own biological urges.
Sexual Perversity in Chicago visits upon two sets of mates doing just that – Danny (Nic Krieg), the geeky tax accountant and his roustabout, well built flatmate, Bernie (Hjalmar Svenna), together trawl bars and beaches looking for that ‘only thing that men want’. Or so it is the belief of Joan (Mandahla Rose), the primary school teacher with rather more cynicism for the whole nonsense than her flat mate, the attractive artist Joan (Renee Gentle), who is quite some enthusiast for it all who together round out the players.
By David Mamet, Sexual Perversity is an hour long romps of a myriad of all remarkably common sexual exploits between young people and their own responses to them, not than any, for one with any familiarity with the night club world, would be regarded as exactly perverse.
All the players in this do a great job. Svenna gets the play going with a strong opening scene that leaves his audience in no doubt about what this is all about. Krieg’s prowess develops as the production advances with fine comic touches amidst the angst and the amorous. Gentle is a joy to observe and Rose, given the least prominent role, is by no means just making up the team.
The convincing use of somewhat over the top American accents by all (not to mention Bernie’s big fair haired wig – see photo) adds to the silliness, though one wonders how the Americans create that additional farcical element that makes this production such a joy.
Jesse Butler’s direction, creating four sub stages in the one main space, is as assured as it is uncomplicated, especially when aided by excellent light management by Stephen Dean.
Well done to all involved. This is fine Adelaide theatre that can be enjoyed by all without having to camp out the night in Angas Street to do so.
Kryztoff Rating 4K
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