Reviewed by Paul Treasure
It is amazing how often food and drink are featured in plays and stories. It is something that we all share and something that can transcend boundaries and differences. It is something that can bring us together and unite us. A Third Place, currently playing in the Kaos Room at the Blue Room, set as if it is in a local café and featuring a mystical espresso machine, continues this tradition, but adds a little bit more magic to it.
The story follows Maria, who has escaped from Perth over East and has become estranged from her family after coming out. On the death of her beloved Nonna, she returns for the funeral and is shocked to find out that her Nonna has left her the family café, jointly with her cousin Bella. As Maria and Bella struggle to get the café back up and running, they also struggle with connecting with each other and making connections with other people.
The play is a nice slice of life, but it is hardly groundbreaking. These are stories that we have heard many times before, and there is very little here that we are not already familiar with. The relationship between the two cousins, Maria and Bella, is ironically at its strongest when it is at its lightest and most trivial. When the actors are called upon to provide witty banter the ease with which these two actors flit between each other feels incredibly natural and is very entertaining. These are two performers who are obviously at home with each other and can bounce perfectly. Unfortunately, as soon as any real emotion is called for the energy drops, as does the emotional authenticity, and we feel like to two are merely “acting”.
The minor characters look their parts brilliantly, but it really feels like they have struggled to elevate their characters to their look. The character of Monica Bocconcini is a brilliant concept. The magical spirit of the café’s espresso machine. She is stunning in a bright white wig and electric blue feathers, and could easily steal the show. She is, however, drastically underplayed. This is a little of the over-the-top exuberance and larger-than-life vivaciousness that this character calls for.
One of the more delightful aspects of the play is a couple of flashback scenes between the Nonna and her husband. These scenes are performed in shadow behind a scrim. They are performed in Italian with surtitles projected on the wall of the theatre. The surtitles are very clear and easily read, but some of the Italian dialogue is delivered in what can only be described as the broad accent of an Australian visiting Italy, rather than authentically Italian.
While the play had a concept that could have been interesting, the apparent lack of a tight pair of hands on the reins robbed the show of any chance to fly. A lot more effort could have been put into making the show seem more authentic, and therefore more engaging. It was a diverting piece of theatre, but it is a shame that ultimately the production felt somewhat lacklustre and underwhelming.
Reviewer Note: Tickets for this review were provided by the theatre company.
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