Popcorn
Wayne (Michael Wood) is one of film director Bruce Delamitri’s (Charles Grubb) biggest fans. He’s seen all the man’s movies, but the latest, Ordinary Americans, is Wayne’s favourite. Bruce’s ironic, detached, gory, sexy, sensationalised, hyper-modern, and above all-else style appeals to Wayne’s sensibilities. But while most film fans draw inspiration from the works of the artists they admire, few draw the kind of inspiration Wayne does: Wayne is inspired by Bruce’s films to kill… or at least, that’s what he would like to claim.
It’s the night after the Academy Awards, and Bruce arrives back at his Hollywood mansion to celebrate his win with actress (and Playboy model) Brooke Daniels (Louisa Clarkson). But Bruce soon discovers he has some unexpected company, in the form of Wayne and Wayne’s girlfriend, Scout (Lizzie Tollemache) – a couple more commonly referred to as the notorious “Mall Murderers,” serial killers cutting a deadly swathe across the country. Wayne and Scout keep Bruce subdued at gunpoint for a little discussion about their respective lives, but when Bruce’s (soon to be ex-) wife and daughter turn up, matters become considerably more complex. Their lives might ultimately depend on Bruce’s willingness to make a statement that could ruin his career…
Taking potshots at Hollywood and the film industry is like shooting goldfish in a table, and while Elton’s script provides plenty of witty lines and comic situations, it doesn’t provide much in the way of original comment on the subject. The excess and despicably shallow nature of Hollywood is lampooned ably, and the odd relationship between film producers and their audiences is explored well, but none of it feels particularly fresh or insightful. As predictable as it might be, it’s impossible not to compare it to the similarly-themed Natural Born Killers, but it just doesn’t carry that film’s edge and depth. There are plenty of quality moments, though, and a show-ending reference to the overly-litigious nature of American society is a nice touch. Wood and Tollemache as the serial-killing duo are the clear stand-outs of the cast. Wood delivers a relentlessly manic and energetic performance, capturing Wayne’s driven and demanding personality perfectly. Tollemache imbues Scout with an almost-lovable naiveté, but one often offset by an unmistakable dangerous streak, especially when Scout asserts her loyalty to Wayne. Though she may be less violent onstage, she’s probably the scarier of the two. The two actors present the characters’ complex relationship well.
Staged almost entirely in one location, the rather deep set is serviceably designed. I can’t forget to give special mention to the already-alluded to coffee table, which featured a fishbowl underside replete with goldfish; a clear reference to modern celebrity culture, and the way in which stars become trapped helplessly within the unflinching and unforgiving stare of the public, doomed to circle without any true opportunity for privacy, freedom, and personal autonomy… or it just looked pretty cool; I don’t know.
With a solid cast and good staging, Top Dog Theatre has done a fine job bringing an altogether enjoyable story to the stage, albeit one perhaps not as challenging as it had the potential to be.
