No Time to Wait
Basement Theatre’s Studio is so tightly full of keen viewers members earlier than the premiere of playwright and director Lucy Dawber’s newest comedic providing No Time to Dry, {that a} Basement workers member finally ends up giving their seat to the ultimate individual to enter the room. There’s an anticipation within the air that I’ve hardly ever skilled like this; maybe it’s the casting – an ensemble who’ve largely labored collectively by Bullrush improv troupe, or in Dawber’s earlier play Hardly Working – or possibly it’s the intriguing premise of a fiercely feminist spy romp. Personally, it’s having excessive expectations from realizing Dawber’s back-catalogue of labor and her robust abilities as a author and comedic performer, notably in her 2022 autobiographical one-woman present Rich People Cry Too (remounted for the 2024 NZ Comedy Festival subsequent month.)
As the viewers assembles, a person is on his knees centre stage – arms behind his again, face obscured by a paper bag. A playful forwards and backwards with a disembodied voice of the villain (Dawber) units the tone of the night, firmly touchdown in parody. The particulars of why the person has been captured really feel inconsequential, and the emphasis is on the comedy which places me comfy, after pondering of how advanced spy plots might be. This is all-together a special beast and, as we’re launched to the subsequent set of characters, it’s clear that Dawber’s focus is on uplifting and elevating the work of her distinctive actors.
Brit O’Rourke is protagonist Ada, a pushover classroom instructor unaffectionately recognized by her children as ‘pretzel-face.’ She has an ungainly crush on a colleague, Janet/Jane (Georgia Pringle) who ignores her opening scene advances. At the laundrette, Ada laments about her day to close-knit mates, Martha (Jacinta Compton) and Carmen (Gabriela Chauca) who’re fellow millennials with a shared frustration in the direction of the hum-drum and their flagging careers.
After discovering themselves in a secret room behind a dryer, they fend for his or her lives and we’re launched to high boss 001 (Millie Hanford). The threesome’s confusion at being invited into the NZ Secret Intelligence Service offers the primary heady hit of laughter, and the nuances of Hanford’s comedic efficiency and her exit from stage leads to uncontainable hysterics from the room. The hilarity is testomony not solely to the bodily comedy of all performers, however to Dawber’s writing and course.
Without delving too deeply into the plot or spoilers, the motion unfolds with the three mates and mentor Jane displaying them the ropes of spydom. It’s fascinating to notice how the play opened with a person (Vincent Andrew-Scammell), however more often than not the feminine characters take up house in a genre-busting manner. Ada, Carmen and Martha are every distinctive and complimentary, particularly evidenced throughout a polygraph check scene cementing their neuroses and offering the arrange for a musical call-back from Martha later within the denouement.
The sound design is powerful (Vincent Andrew-Scammell) with an orchestral James Bond fashion rating underpinning stress, which enhances extra delicate textures e.g. the faucet of the polygraph, the beep of a digital laptop display or swipe card entry door. As with many opening nights, there are moments when the sound stability wants adjusting however this isn’t distracting and is a welcomed effort to maintain dialogue entrance and centre.
The house is utilised in an intriguing manner, with some scenes happening behind the opaque white gauze curtain, and a central gap permits for entry to the principle stage (when not using hilarious comando rolls beneath it). Lighting design is evocative, utilizing the entire rainbow to replicate temper and house, and chapter titles or infographics are often projected onto the opaque partition. Details like this showcase Dawber’s considerate course, and serve to raise the compelling places – (a coaching ring! An airplane! Malaga, Spain!).
It’s a play which may simply switch to a much bigger stage, permitting for the sort of inventive playfulness Dawber excels at. That mentioned, the sparse set permits the performers to actually shine, and their bodily theatre and mime-work is particularly skillful. Additional props, bells and whistles would take away from this however there’s little question extra eyes must be throughout this work.
Opening night time concluded with an amazing response from the viewers who made a lot noise in the course of the curtain-call, cheering and stamping toes, that the ground shook. Don’t miss No Time To Dry if it returns.
No Time to Dry performed Basement Theatre 23-Twenty seventh April 2024.
Written and Directed by Lucy Dawber
Starring Brit O’Rourke, Gabriela Chauca, Jacinta Compton, Georgia Pringle, Millie Hanford, and Vincent Andrew-Scammell
Set and Lighting design by Bekky Boyce
The Editor apologies for the delay in posting this overview.
