"No. 2 is a must see classic, in the running for finest ever NZ theatre experiences. Magic is the word." Nik Smythe, theatreview
"With a chair, some well crafted light a perfect script and one truly gifted performer No.2 was an engaging and flawless evening of theatre. Nothing short of a theatrical miracle." Jared Edwards, InUnison
MUST SEE CLASSIC - MAGIC IS THE WORD
No. 2
Written by Toa Fraser
Performed by Madeleine Sami
Silo Theatre at the The PumpHouse
From 1 Apr 2009 to 11 Apr 2009
Reviewed by Nik Smythe
theatreview.co.nz
2 April 2009
There's standing room only in the Pumphouse's 200 seat auditorium. Presumably many of us are here to revisit this mightily historic collaborative work of writer Toa Fraser and actor Madeleine Sami which debuted 10 years ago when we were all ten years younger. People must be wondering if it's changed much in that time, also considering Fraser's rather different film version of 2006.
Yet the general mood is not one of urgent expectancy or fevered anticipation; more an atmosphere of relaxed confidence. Everyone calmly ambles in, chatting pleasantly about their day, no hurry. When the play begins on Pacific time, at least 10 minutes late, the lights fade down and the crowd shuts up.
It's the same play, to the delight and satisfaction of an audience who rose during the curtain call in one of the most spontaneous and genuine standing ovations I've ever witnessed. The only discernable changes are a few updates Fraser's trademark contemporary references, which serve to draw laughter of recognition from the audience.
Nana Maria wakes up at four in the morning and declares to her 2nd grandson Erasmus, just home from his night job, her intention to name her successor at a feast this very evening, to which all her grandchildren and none of her children are invited.
The whole generation is rallied by the staunch 'Mus': hardworking, long suffering eldest daughter Charlene; pretty, self-obsessed bimbo Hibiscus; scrappy young gangster Soul; favourite son Tyson, player of rugby and girls; and Moses the youngest, about eight years old and Nana Maria's most trusted advisor. She invites only one 'outsider', Father Francis, because the feast is to be like the ones in Sicily where a priest is always present. And there is to be one more unexpected guest...
Fraser's highly appealing script shows us a family that still celebrates many of the vices which are strongly advertised against today - smoking, heavy drinking, fighting.
Many factual points aren't clarified, e.g. regarding Nana Maria's own children and exactly why they're not welcome, or why Charlene and Moses live with her and not their own parents. Nor is it really disclosed everything that being the successor will actually entail. Such details aren't required, in fact the absence of them suggests a deep history too complex to begin to evoke.
Though Madeleine Sami is but one lean, attractive female actor, I believe the majority of the crowd will attest to having witnessed nine distinct and believable characters using nothing more than her body, face, and voice. Assisted by the extremely minimal design of John Verryt and Jeremy Fern (one chair and a subtly effective series of lighting changes), Sami displays a practically superhuman talent for eclectic characterisations that goes far deeper than mere caricature.
No. 2 is a must see classic, in the running for finest ever NZ theatre experiences. Magic is the word.
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NO.2 REVIEW
By Jared Edwards,
InUnison
Wednesday 8 April, 2009
Pumphouse, Takapuna
There can be miracles. The tagline for Pumphouse Theatre’s season of No. 2 is as reflective of the story it tells, as the quality of the show. Minimalism at its best, Toa Fraser’s No.2 is back onstage again, brought to life through the work of a single player, a chair, beautifully crafted light and a touch of sound.
Madeline Sami’s virtuoso performance is the first miracle of this piece. She brings an entire cast to life onstage, moving seamlessly through the Maria family, like a rally driver shifting gears. All tacky clichés aside, words truly cannot describe the magic of Sami’s performance. She manipulates body and voice with unbelievable ease, portraying a cast of characters, ranging from an adorable wee schoolboy to a frail, fading matriarch. With every role Sami is transformed, the audience literally sees a new person onstage, instantaneously.
Aside from the physical and verbal characterisations, each character we are confronted with has incredible depth. Sol, a cheeky fifteen year old ‘gangster’ provides some of the shows finest wit. Meanwhile he deals with an internal struggle, trying to find his place in the family, shadowed by his brother Tyson. I found more emotional depth in each of the eight or so characters portrayed by Sami than some actors amass focusing on a single role. The sheer energy, concentration and skill needed to perform every character in this play is remarkable. It is the kind of performance that forces me to reflect on my own past theatrical endeavours, and I am compelled to feel guilty. Sami is, without a doubt, one of this country’s finest talents.
Toa Fraser’s script is the next of the shows miracles. He weaves the performer and audience through a web of wonderfully rich and diverse characters, in an exploration of culture, ageing and above all, family. It is time for Nana Maria to name her successor; she wants all her grandchildren present, but none of her ‘bloody useless children’. As preparations for the big feast unfold we are introduced to the workings and failings of this extended Fijian family.
John Verryt and Jeremy Fern’s design work makes up miracle three. A solitary chair acts as Nana Maria’s throne, with the rest of the environment created exquisitely through light. Nana’s bedroom is constructed with heavy shafted sidelight, almost an expressionist touch, enforcing the bedroom as a place of reflection. Every setting is clearly defined and enriched with light. The minimalist set allows the action to move fluidly from scene to scene. Meanwhile the audience maintains a clear picture of the settings and characters momentarily abandoned by the actress, occupying another character.
No.2 was a refreshing theatrical experience, pure class. All too often theatre tries to beat its audience into submission - whack them over the head with ‘in’ themes, dazzle with elaborate sets and costumes, large ensemble casts, and stories rich with pretentious theatre dribble. With a chair, some well crafted light a perfect script and one truly gifted performer No.2 was an engaging and flawless evening of theatre. Nothing short of a theatrical miracle.
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