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Salient. Newspaper of the Victoria University Students' Association. Vol 42 No. 5. March 26 1979

Theatre: In the shadow of history — Conference

page 11

[unclear: Theatre]: In the shadow of history

Conference

[unclear: one] serious theatre at [unclear: Downnil]Conference is about fascism: [unclear: vt] national chauvinism, its [unclear: per-] propaganda, its corrupting [unclear: pooie] use it makes of the big bourgeo-not the use the borgeoisis makes specifically, it centres on a [unclear: eting] between Hitlers' mistress [unclear: nd] Mussolini's mistress [unclear: Clareetacci].

treats these women in the [unclear: shaoy] in various ways. Their [unclear: inabint] themselves except through [unclear: d] words of their masters (for [unclear: i] are) is counterposed to their at being shut away, forbidden of the greatness. Through both [unclear: ts] they also take on the [unclear: characrand] Mussolini themselves, so while its story follows the [unclear: woy] reveals the pernicious subtlety [unclear: ng] brutality of the two fascist

To Convey

Conference could have been play that wallows in a morass [unclear: ts] lonely protagonists. It could psychological investigation of [unclear: nderneaih] the roles they have [unclear: history]. But MacDonald has The "humanity" he has [unclear: allotsi] enough to convince us [unclear: ism] but it does not dull the mes-to get across.

problem is, the message is dul-factors. The playwright [unclear: cleari] expose the evil of fascism, this broad generalisation his [unclear: re] not at all apparent. For one [unclear: xt] it extremely complex. Bring-men on stage by proxy (through allows him some great dramatic [unclear: it] it doesn't help the action or Just sorting out the various [unclear: ch] events are taking place [unclear: reoncentration].

[unclear: n] this though, the actual [unclear: meett] number of the species is hard From go to woah we are asked as that seem terribly important little more than a general sense [unclear: ing] is rotten in the state of the powerful, but somewhat con-

[unclear: his] is because the play lacks a core, as if the playwright hadn't quite made up hismind what it was he wanted to say. Alternatively, he may have wanted to use fascism not just to demonstrate its own evils, but as an illustration of something wrong in the "human condition."

Drawing of a person with a hive for a head, and another with a flower for a head

A Stunned Audience

The night I went, the audience almost didn't clap. They were stunned. I think this was largely due to a sense of horror, but because there exists this level of thematic confusion, that horror could well have been mingled with despair. Certainly the question of fighting back doesn't arise.

In spite of this, however, the Downstage production is powerful and dramatic. Prue Langbein as Braun and Anne Budd as Petacci give strong performaces in exceedingly difficult roles. Remaining in one character while adopting the traits of another is no easy thing. If Langbein occasionally lets expression take the place of meaning and Budd maintains slightly too even a pitch, they nevertheless carry this play with intelligence, vigour and flair.

There are two factors that help them immensely in this. The first is Raymond Boyce' set, a masterpiece of pillars and floor to [unclear: ceiling] murals enclosing a large open spave that in turn confronts a steeply raked audience. The surrounds, all in austere grey, reek of fascism. The open space is a gift to the actors: the design doesn't impede their work, it feeds it. The rake of the seating sets us almost in judgement. All this in one show is rare indeed at Downstage.

The second factor is the acting of the only other person in the play, Micael Mc-Grath (as a young German soldier waiting on and guarding the two women) It is on his shoulders that the play finally rests its burden of the "cry of humanity". He delivers himself of it with remarkable skill and in circumstances as difficult as any playwright could devise.

For its acting, for its design and for the sincerity with which it confronts its audience. Summit Conference is definitely worth seeing As an exposition on an important contemporary theme it also demands attention. If on this latter count it has a tendency to confuse, that may be because it needs seeing twice. And although that may be failing in a medium which should perhaps be directily communicable in one sitting, it is a failing worth bearing with. For this play gives us something rare in Wellingon:theatre worth the effort.

Simon Wilson

Anne Budd as Clara Petacci.

Anne Budd as Clara Petacci.