Night Letters

Overview

It would be deceptive to characterise So What? as a typical student theatre company. Rather than 'shy', 'brave' would perhaps be the best word. Despite limited years, they are unmistakably ambitious. Having tackled Shakespeare (a production of Macbeth is already under their belts), this company has moved on to another incredibly complex work.

Adapted from Robert Dessaix's novel of the same name, Night Letters follows the escape to Europe of a dying man desperate to understand his own history. Rather than comprehending his story, however, he becomes entangled in the histories of others: both those who surround him and those who have inhabited the same place before him. Presenting this play as part of Mardi Gras foregrounds the fact that it pays attention to marginalised individuals, those who are otherwise excluded from the pages of the past. It is a surprisingly joyous act of celebrating their existence, while it inevitably mourns their tragedies.

The strength of this production lies in what may initially appear to be its weaknesses. More eager to extend themselves than display skills mastered, more willing to tackle difficult scripts than stick to safe options, the members of this company expose themselves to dangerous risks. Taking this path, however, opens up the space to create a performance that is dynamic, playful and unpredictable. Potentially dull moments are infected with the actors' irresistible charms, while extensive scenes are stretched into absurdity, only to be poignantly pulled back into the immediate. Entrances and exits — a typical pitfall of student theatre — are managed seamlessly. Above all, the emotion of the script is carefully managed by director Christopher Hay to sidestep the issue of age and still deliver on the demands of the plot.

In short, Night Letters is one to watch, and so is the company behind it.

Image: Charlotte Green, Eleni Schumacher and Christopher Hay in Night Letters, 2011. Photograph by James Pang.