|Briallen Clarke in Griffin Theatre's production of "Pony"
Anthea Williams – Production designed by Isobel Hudson
Designed by Verity Hampson – Composer and Sound Designer: Me-Lay Hay
Theatre Centre Courtyard Studio. 22nd June – 1stJuly
night performance on 22nd June reviewed by Bill Stephens
audiences are fortunate to be among the first to experience Griffin Theatre’s
delightful production of Eloise Snape’s debut play, “Pony”, following its
sell-out season in Sydney.
Don’t be put off by the poster of a heavily pregnant woman and the description, “Hazel is no angel. In fact, she’s a delusional, reality TV-obsessed fantasist who swears like a sailor and has a fondness for greased-up male strippers”.
As personified in a tour-de-force performance by Briallen Clarke, Hazel is a much more complex and multi-faceted character than this description would suggest.
On a stage dominated by a huge pink merry go round pony, the significance of which becomes apparent as the play progresses , backed by a glittering reflective backdrop, and costumed in a velvet rhinestone cowboy suit, Clarke provides a wildly funny, heart-warming glimpse into the life of an engaging, deeply flawed, 37 year-old, named Hazel, who’s struggling to keep up with the expectations of society to be a super-woman.
clever lighting design, atmospheric soundscape, and Anthea Williams' constantly inventive
direction, Clarke creates an engaging central character in Hazel, then, with
admirable economy, surrounds her with a whole collection of hilarious but thoroughly
recognisable characters as Hazel recounts the story of her pathway to pregnancy.
Among those characters is the host of Rhyme Time, Mrs Twinkle, whose rhyme “round and round” becomes a
recurring motif throughout the play. There’s also Liv, Hazel’s long-suffering
bestie; Trish, the fearsome midwife who runs relaxation classes; Patrick, her
supportive husband, and her much loved Nanna, who’s fond of whisky and
dispensing down-to-earth advice.
language can be coarse, and at times terrifyingly descriptive, but it feels
appropriate for the character and the situations in which she discovers herself.
Indeed her description of the birth of her child is so graphic as to give cause for pause for any expectant mothers in the audience, even though the
information might be enlightening for their partners.
However, Clarke’s performance is so refreshingly positive, hilariously funny, and at
times surprisingly moving, that when the audience finally arrive at the end of
Hazel’s journey the only appropriate response seems to be - an enthusiastic standing ovation.
This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au