Black Swan Lab
Directed by Stuart Halusz
Set design Frances Danckert
Costume design Lynn Ferguson
Sound design Brett Smith
Lighting design Joe Lui
With Adriane Daff, Rebecca Davis, Luke Hewett, Greg McNeill and Igor Sas
STC Studio until July 17
|Luke Hewitt and Rebecca Davis|
Pastrana was the archetypal bearded lady, due to a cruel congenital condition that led its sufferers to be promoted as ape men and bear women.
The challenge of bringing Pastrana to the stage is deftly and sympathetically achieved by not representing her deformities. Adriane Daff, in a fine and touching performance, gives a sympathetic portrait of a wounded woman without the prurient distraction of her condition.
Luke Hewitt’s Theodore Lent is also convincing. The play is as much a picaresque exploration of the complete moral failure of a man as it is the tragedy of his victim.
Rebecca Davis threatens to run away with the show as Lent’s mistress, the acrobatic Marian Trumbull. The remarkably lengthy Davis makes it easy to see how she would be a hit in the ring or between Lent’s sheets, and she brings desperate power to her characterization.
The show is beautifully staged. Joe Lui moodily and imaginatively lights Frances Danckert’s revolving set and Lynn Ferguson’s rich costumes, and Brett Smith’s sound design and original compositions add greatly to its atmosphere and appeal.
Despite all those advantages, A Perfect Specimen ultimately lacks dramatic ambition. The narrative is determinedly linear, never truly taking us inside its characters or off its rails.
That does, of course, make this strange tale clear and easy to follow, but that comes at the expense of greater opportunities it could have taken, and deeper insights it could have found.
Read the complete review in The West Australian