Leanna Walsman as Myrtle in Opening Night. Photo: Brett Boardmann.
Opening Night is cleverly constructed: a play within a play, with the rehearsals and real-life scenes with the actors interwoven; and with leading lady Myrtle Gordon (Leeanna Walsman), a star of the stage for years, flitting in out of her realities and anxieties. We meet Myrtle as Virginia, a woman of a certain age in high heels and a shimmering black sheath dress, attempting to seduce her ex-lover Maurice in a hotel room. But Maurice doesn’t want Myrtle any more. And Myrtle doesn’t understand this character of Virgina. Who is she? What does she want?
As the woman teetering on the edge of a nervous breakdown, Walsman carries the part of Myrtle extremely well. And hers is not the only ego striving for recognition. Luke Mullins plays chauvinistic director Manny, increasingly impatient and increasingly unsympathetic to Myrtle’s questionings of some of the moral ethics of Opening Night; Anthony Harkins as leading man Marty (who plays the part of Maurice) is determined not to let Myrtle’s inability to keep it together stand in the way of a shining opening night performance of his own; and the playwright Sarah (wise but cynical, courtesy of Toni Scanlan) is none too impressed either.
It’s the role of a lifetime for Myrtle, but things are not going well for her. And she keeps going off book.
Based on the screenplay by John Cassavetes, this stage production is adapted and directed by Carissa Licciardello. To quote Licciardello, ‘The idea of the actress losing her mind is a trope we’re quite familiar with, but Opening Night subverts our expectations. It’s about what happens when a woman can’t play her role anymore, when she can no longer do what is expected of her – and it charts the unravelling, and the rebellion, that can come out of that.’
As every actress knows, age and ageing is a huge factor in getting work. Myrtle is feeling that, but something else is plaguing her. When she looks in the mirror, does she see herself or is it the ghost of someone else? And if it is, is it all her fault? Is she real or is she floating above herself?
Walsman quickly establishes audience sympathy for Myrtle, and Opening Night has many gripping – and thrilling – moments as the play within a play’s opening night approaches. ‘Thrilling’ is a word with some resonance in this production, as audiences will discover. Thrilling. And chilling.
Reality and fantasy blur. David Fleischer’s set and Nick Schlieper’s lighting design, add to the sense of artificiality and menace.
The story unfolds well, if a little slowly at times. But the denoument, when it comes, is well worth the wait.
I have not seen the film (and did not feel that as a lack watching this play), but it seems Licciardello’s version veers from the original in some key ways. I only mention this for those who are aficionados of the 1977 movie. The role of Marty/Maurice was played, and played well, by Harkins. From 6 March, audiences will see Matthew Zeremes in that role.
Opening Night plays until 27 March. Various prices, from $35 (student saver) through to full price of $70. https://belvoir.com.au/productions/opening-night/ or (02) 9699 3444
