Review: Comeback Festival Week 2 at Goodwood Theatre and Studios

Review by Lisa Lanzi

Week 2 of The Goodwood Theatre and Studios COMEBACK Festival was peppered with laughter, excellent writing, themes that included having, seeking, and/or finding sexual gratification, plus great performances from four terrific Adelaide actors.

First up was Bang On The Nerve, an Asian-Australian adaptation of Van Badham’s witty 2004 script.  Directed with finesse and a keen eye for character by Valerie Berry and starring Danielle Lim and Samuel Lau as Elle and Louis, this is an incisive play with fast-paced text and shrewd, layered writing.  The audience was entirely captivated as Lewis and Elle take turns revealing and comparing their less than exhilarating recent life circumstances.  All takes place within the confines of Louis’ untidy bedroom, a visual representation of his blue mood, and a fabulous contrast to the energy his pal Elle exudes as she storms in to complain about her day as a beleaguered primary school teacher.

Lau imbues Louis with sensitivity and a gentle but witty sense of humour which sits as a delightful contrast beside Lim’s embodiment of Elle’s emancipated and strongly feminist ideals and colourful language.  Lim is eminently able to rattle off the complex dialogue and fervent belief system of her character at speed yet deliver the meaning and intention with perfect clarity.  As Louis, Lau showcases some of his prodigious musical skills as the stricken character resorts to playing guitar and singing both as a refuge for a broken heart, and a way to ‘pun’ and joke with his friend.

The conversation, complaining, reminiscing, and bickering between the two presents a messy microcosm of close friendship that may /might / possibly / perhaps mean more than platonic affection.  These exchanges that occur in one evening on the stage could chart peaks and troughs of a friendship across years, and thus, the intensity is high.  These two highly talented actors have a palpable rapport which allows scenes to work beautifully as they tackle the many highs and lows of their characters’ connection.  Amongst the drama, be assured, there exists many laugh-out-loud moments and the audience reception was tangible and appreciative.

Post interval, we parade back into the performance space and are plunged into the off-centre hilarity of zero theatre collective’s Have Sex With Me, Please (yes, that's really the title).  

Created and performed by Eddie Morrison and Nate Troisi, this gig needs to be experienced: it hit me a little like the time I was told by an actor friend that I simply must watch Little Britain - I was stalled for a time while constantly thinking WTAF, until I finally picked up my jaw from the floor then could NOT stop laughing.  

Starting with a song and two male-identifying folk declaring themselves virgins, backed by a vivid cyclorama-sized projection of various flashing phrases in ‘monster’ font, we are dropped into a grand but bizarre quest to validate the search for a partner; but don’t stress, only Eddie is seeking a sexual liaison while Nate proclaims his revulsion at all forms of human contact.  

As in any heroic journey, clarification and parameters must be set.  Here we are regaled with age restrictions, the why’s and wherefores’ (illustrated with visions of ‘legendary’ sexiness like Hugh Grant, Hulk Hogan, George Michael, and The Movie Show’s ‘Margaret and David’ - the “boundary king and queen” because they DIDN’T shag each other), and of course ‘Scientific Proof’ of how to go about getting someone to pop your cherry.

During the adventure, experiments with ‘science-backed’ shenanigans – oops, I mean proven strategies – are demonstrated through outfit alterations, ‘manly’ walking styles, eye contact tactics, flexy arm positions, and more.  These approaches have been ‘researched’ by Nate who took on University studies (not really) on Eddie’s behalf; they were presented on screen through some alarming YouTube reels where the ‘ick’ factor is real, but truly funny AF.

Make of all this what you will, but these two fine actors manage to push boundaries, reference important gender and sexual issues, frame ideals of friendship, and pull from you gasping, joyous laughter, all while being seriously idiotic physical and dramatic Clowns and successfully integrating very silly audience participation.  Troisi and Morrison draw from both their innate and learned theatrical skills then improvise and riff with absolute mastery yet maintain a delightful whimsy.  Bring on the next chapter of zero theatre collective’s mischief-making.  Please.

Image Supplied