Servant of the Revolution
Servant of the Revolution
Mechanics Institute, Brunswick
8pm Tues to Sat 21–25 July; 28 July–1 August; 6pm Sun 26 July
Pre-performance ritual unfolds as the audience enters to three people applying stage makeup, seated around a wooden table in a state of concentration and focus. They are neutral wearing theatre blacks, legs crossed under the table, feet shoeless, occasionally conversing between themselves. Ropes hang the Marx family picture upstage and centre. Red blankets conceal other hangings in the dusty, attic setting. A piano recording is playing in the background; it fades out.
There is a voiceover and the performers tilt their heads with mild interest. It references Karl Marx’ death holding “a hand of Tussy’s, and a hand of mine”. It is unclear as to the owner of the ephemeral voice; my guess is Frederick Engels, Marx’ political collaborator. The blankets are tossed aside and the set up of the stage begins. “Chair”, “bowl”, “stairs coming through”. The performers verbally acknowledge each object. “Two minutes” – They change into periodic costumes of grey and red. “One minute” – The last of the props are in place. “Thirty seconds” – Lenchen (Donovan) is left onstage, cutting a strong figure.
During this scene, a huge cardboard picture of Marx’ face has been taped to the floor. Interestingly enough, Karl Marx is not characterized in this play and does not appear. Through the picture he takes on a cold, removed observer role, a presence that is ignored by the characters as they traipse across him.
Engels stumbles ungracefully on stage heralding the beginning of a scene that would last the duration of the play. It was running to real time; sixty minutes passed in the theatre with approximately the same time passing in the script. This concept is inherently interesting and the scene could have been stimulating if there had been some development, to character or plot, in that hour.
Lenchen has seen her son Freddy (son of Marx) for the first time since birth. She relates her regret, sadness and internal struggle of giving up her son to Engels. He is a committed listener who then attempts to console her; gently reminding her of the ‘servant of the revolution’ role she has taken. Tussy makes a brief appearance to confide in Lenchen of her romance that is disapproved by Marx paralleling Lenchen and Marx’ forbidden romance. Tussy exits and the conversation ensues heatedly between Engels and Lenchen.
The play is brought to a close with the entrance of Jenny, Marx’ wife, and Engels words “Courage comrade, courage”. No resolution has been reached, no character arc has occurred and the audience is left exactly as they begun. One socialist joke the wiser perhaps.
The performers are definitely to be commended; Donovan is the highlight as the deeply caring, maternal, yet restrained and hardened Lenchen, and is complemented by Tiernan’s affectionate Engels. Pagone’s presence was brief as both Tussy and Jenny, but striking nonetheless. The well-considered set design is by Rafaella McDonald.
The play is the conception of writer-producer Anitra Nelson and brought to the stage by actor and director Brenda Addie. Donovan, Tiernan and Pagone come together for the first time. The three have collectively secured roles on the Australian small screen in shows including City Homicide, Sea Patrol, The Strip and Canal Road. All have long histories on stage and are strong contributors to Melbourne’s theatre scene.
Anitra Nelson, a former member of the Australian Communist Party before it dis-banded in 1991, remains a women’s liberationist. She is an expert on Marx studying him extensively including his ill health and carbuncles. The Servant of the Revolution presents the hypothesis that Marx fathered an illegitimate child to Lenchen (or Helene Dumuth).
Do not be deceived by the experimental beginning, this is highly conventional theatre. The script is dry and more of a research paper, although there were redeeming moments of wit and humour. The Servant of the Revolution has its merits in excellent actors and stage design.
The Servant of the Revolution is at the Mechanics Institute, Brunswick until the 1st August.
Writer/Producer – Anitra Nelson
Director – Brenda Addie
Sound Designer – Ted Kazan
Set Designer – Rafaella McDonald
Lighting Designer – Scott Allan
Performers – Julianne Donovan, Ray Tiernan, Clara Pagone
