Williamson's Sharp Satire Shines Through The Tears And Tantrums

Sydney Morning Herald

Tuesday January 17, 2006

Bryce Hallett, John Shand

THEATRE

Charitable Intent

Ensemble Theatre, January 13

Until March 11

Reviewed by Bryce Hallett

FROM the moment they enter the workplace conference to resolve ructions enveloping their charity organisation, it's easy to spot the good, the bad and the in-between.

Every actor in David Williamson's outstanding play - the third in his community conferencing trilogy - is thoroughly believable and looks the part. Sandra Bates directs with a sure touch.

As the convener, Jack Manning (Andrew Doyle) takes firm yet unobtrusive control of proceedings; the unadorned meeting room becomes a boxing ring of sorts. Allegiance is sworn, defences are up, tactics turn nasty, tempers flare and tears are shed.

As in Face to Face, the first play in the trilogy, and many of Williamson's recent social comedies, the culture of the narcissist and bully boy is firmly in evidence, except this time it's a warrior woman causing tension and friction.

Flinty and poised, Bryony (Kate Raison) is the chief executive of an organisation called Enabling and Caring, which aims to help the intellectually and physically impaired. But Bryony's self-aggrandising vision and fund-raising ploys take a terrible toll. It's typically a case of the new guard riding roughshod over the old as the diligent and devoted are made to look recalcitrant and complacent.

Charitable Intent premiered at the Melbourne Festival in 2001 yet its generational power conflicts and combat between management and staff remain all too familiar and satirically sharp. Williamson humanises the politics and ventures a positive though not entirely reassuring end.

From the outset the audience is on to brittle Bryony as she and her minions - the publicist Giulia (Anna Crawford), the financial controller Cassie (Catherine McGraffin) and the human resources head Tamsyn (Anna Cottrell) - present a steely, unforgiving facade.

In the opposing, apparently unfashionable and near-redundant corner is the victimised Amanda (Denise Roberts), the head of program management who finds the courage to air grievances and fathom the truth. Roberts is superb as Amanda. She reveals not just the character's fighting spirit and honesty but the flaws and insecurities that lie open for others to mercilessly mock. Her struggle is very affecting.

As her co-worker and peer Stella, Gael Ballantyne is almost as arch as the alienating Bryony - played magnificently by Raison, I might add - except she's a warm-hearted trouper under the bluster.

Henri Szeps shines as the ambivalent board chairman Brian, a staunch figure who revels in popularity and power, and gleefully leaps to wherever it happens to shift. He would make a good politician.

Charitable Intent is warm, funny and enlightened.

JAZZ

Tord Gustavsen Trio

City Recital Hall, January 15

Reviewed by John Shand

SMALL chamber groups apart, we don't have to listen for most of the music we hear. It assaults our ears. Putting the issue of hearing damage aside, two losses result: the audience misses out on the experience of collectively listening hard (and the musicians' response to that), and the musicians paint themselves into a dynamic corner with almost nowhere to go.

Most jazz is over-amplified these days and even the most subtle acts - such as singer Betty Carter and her trio - would seem raucous compared with the sighs and whispers of the Tord Gustavsen Trio, thanks largely to the phenomenal control, restraint and imagination of drummer Jarle Vespestad.

The joys of the Norwegian trio's 2004 Wangaratta performances were affirmed by this concert. Alongside several new pieces, Gustavsen (piano), Harald Johnsen (bass) and Vespestad returned to the first album's Graceful Touch, the music falling on the ears as softly as a fine, misting rain (somewhat scuppered by the inanity of applauding solos). Still There had a whispered drum solo, each note delivered almost reluctantly, as though Vespestad were releasing classified information.

On several tunes they essayed their understated version of funk, which they would deconstruct in a minimalist three-way dialogue, the feel still hovering tangibly in the air between them. Enthralling interaction between Gustavsen and Vespestad was a hallmark as the pianist often developed his solos with a minimal number of building blocks, perhaps culminating in a brief explosion of ideas across the keyboard, before a return to the motifs underpinning the solo.

Vicar Street was more agitated, yet the tension and turmoil were created with a slight increase in volume. Breathing Starts contained a bass solo of heart-break and wonderment, before a hushed reiteration of the theme, and Draw Nearer was as still as the night.

With their luminous melodies and hints of tangos and hymns, several of Gustavsen's simple compositions seem certain to become classics if those who cover them find the right drummer.

© 2006 Sydney Morning Herald

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