Love! Valour! Compassion!
by Terrence McNally

Mixed Salad is thrilled to be the recipient of the Theatre Association of SA's highest honour, their annual Criti-cal award.

The citation from John Fitzpatrick offered congratulations to our new company.

"Once again the CritiCal Award looked like being an easy decision. However, a show popped up once again late in the year, to run away with the prize.

The winning group is a relatively new member with no record with us. their production was an Adelaide Premiere performance with stand-out performances by most of the cast, which can confidently be described as a classic ensemble.

I am pleased to announce this year's winner as
MIXED SALAD PRODUCTIONS
For their stunning production of,
LOVE! VALOUR! COMPASSION!

Directed by Sally Putnam, at the Promethean Theatre, this play very bravely looks at many of the aspects of the gay community. The passions, the humour, the fears and the dramas that are a part of the gay lifestyle.

Many would attend this play tentatively with possible expectations of non-enjoyment to follow. However, few would walk away displeased, having seen love, sadness, drama and happiness all rolled up into a tight ball of theatrical entertainment.

My congratulations to Mixed Salad Productions. I look to more of their work."

One of the highlights of this year's Feast festival is sure to be the production of Love! Valour! Compassion! by the newly-formed Mixed Salad Productions.

On the cover of this issue we have the not-at-all-unattractive James Edwards, who plays the outrageous and often-naked Ramon, and Peter Burdon spoke with James and Director Sally Putnam in rehearsal.

With a splendid mop of curly hair, and speaking with her arms for good measure, Sally Putnam is more effusive than two-thirds of the actors you're ever likely to meet, and that's not bad for a director.

"Enthusiasm is one of my favourite words, after all," she explains, "and that was one of the reasons we established Mixed Salad [the company that's putting on Love! Valour! Compassion!].
We have a strong desire to do the right things with the company. So often people don't think about the textual elements of the plays you do, or the design. We're trying to do all those things. We want to do plays that are really worthwhile text-wise, as well as being good entertainment. You know, things with a bit of meat in them."

A muffled laugh to my right brings to our attention James Edwards, a bit of meat if ever there was, soon to be very much on public display.

"Well, I have to say that when it was first put to me that I take the role of Ramon, I thought about it for a bit. But not for long, I mean, only a few minutes, really, because I knew what the role entailed, and in fact I fondly remember reading some stuff off the web about the original off-Broadway production which focused almost entirely on Ramon and his physical stature!"

Well that's true enough - I'm still recovering from Randy Becker in the movie!

"But like everything in the play, there's a reason for it. Ramon is such an extrovert, after all. But I must admit it's all come home this week with the photo shoot for blaze - hello, take your clothes off - and going to the salon to see about er getting a few um touch-ups!"

"But all those sorts of things that you might think are difficult have been easy all along," chips in Sally. "Our cast is absolutely professional, and so talented and engaged with the piece that I've been confident, as director, in the way they work with the text, which gives me more time to work really collaboratively, taking advantage of their ideas and experience. At the end, I just have to make sure it stays on course, and ensure that the important things that McNally is playing with are told in the way he intends."

"A part of the way Sally's gone about this process," says James, "is that we met socially before we started rehearsing. We've been forming bonds as a group of friends, and that's crucial in this play because of the intimacy of it."

"Intimacy, yes," adds Sally, "I mean, it's important to know how two people hug each other, and with nudity and sexuality and all that, you have to trust each other to do it properly you have to build up bonds of trust so that you can touch somebody. You need to be able to work with them and feel comfortable with them. It doesn't matter how professional and wonderful you are, it won't come across to the audience as genuine otherwise."

So what of the nudity, the very overtly gay character of Ramon for a man whom I know - alas! - not to be gay. James affects a look of resignation, "I'm not afraid of becoming stereotyped - because I already have been! I was doing a count the other day, and I've been in seven productions now in which I've been either openly gay or have had some kind of relationship with other men! I'm yet to play a show where I actually kiss a woman on stage!"

"We opened the play to everyone, and we've got a company that includes gay and straight men," adds Sally. "But we're finding it doesn't matter at all," James concludes, "We're all experienced actors, we're all really enjoying the project, and we're very focused on what we're doing."

"Love! Valour! Compassion! is providing us all with challenges," Sally reflects, "We're being completely faithful to the script, and the design is coming along really well. The design is along the lines of a memory box. That's essential for one particular reason which relates to the venue, the Promethean Theatre. We worked out early on that there are four different locations in the play and I'm sorry, but you won't fit four sets in there! We couldn't really go to the Queens because we wanted a longer run. But the Promethean is close enough to be within walking distance and it'll add to the intimacy of the piece."

And now, rarely, an advertisement! "We're hoping to put on a performance that is signed, to appeal to the deaf community," Sally tells me, "and we're looking for a sponsor. There's a large number of deaf people out there, and we know a lot of them would love to come to a Feast production if they could. Part of Mixed Salad's charter is to be inclusive, and if we can raise $500 or $600 to cover the cost of a couple of signers, we can make it work."

So excellent do I find this idea, that I encourage interested parties to get out their wallets and contact Mixed Salad on 8336 7456. And also to buy a ticket or two for their production of Love! Valour! Compassion! at the Promethean Theatre, Grote Street, from 6 - 22 November.

Book at BASS - and the Promethean is a small venue, so bookings are strongly recommended

Eight gay men and an isolated country house with a private lake - just the setting for intimacy.

Intimacy is a highlight of Mixed Salad's forthcoming production of Love! Valour! Compassion! which offers the audience the chance to get up close and personal with a group of gay friends as they share three long weekends.

Terrence McNally's award-winning play became well known when it was made into a film starring Jason Alexander - George in Seinfeld - but the play does it so much better. The story of what happens over the summer is told by the cast - bit by bit they reveal not only the events of the weekends but a lot more besides.

It might seem like you're watching a reality TV program as you experience these guys' every move at close quarters! And it's all worth viewing! This important element was missing in the film, and according to director Sally Putnam it meant the audience missed out on much of the power and humour in McNally's writing.

"The characters will be on stage even as the audience arrives," she says. "We want people to feel that they are stepping into the world of the eight men whose lives will be revealed before them. We want people to feel they are part of the experience."

The play stars James Edwards as Ramon, a hot young Latin dancer. David Sinclair faces a tough challenge playing Ramon's overbearing lover, John, as well as John's twin brother, James. Chris Shepherd plays Gregory, the ageing choreographer, with Carl Nilsson-Polias as his blind young lover, Bobby. Trevor Meffert plays Arthur, an accountant, and Ben Passehl is his long-standing partner, Perry. Dave Simms is Buzz, who lives for old Broadway musicals and swears he will fine anyone who even mentions the word AIDS.

The play is being performed in the intimate setting of the Promethean Theatre, Grote Street, Adelaide, as part of the Feast Festival. It opens on November 6. Bookings can be made through BASS.

This is the sort of show that, should the basics be explained to me, I would avoid seeing. Call me old fashioned, or perhaps even a prude but I rarely enjoy this sort of presentation.

Yet this amazing piece of theatrical art is so brilliantly written by Terrence McNally that it just flies by and leaves you wishing for more.

Director Sally Putnam could not have put a better cast together. This is a complex tale about a bunch of ordinary gay guys and their antics over three long weekends in a lakeside house which is owned by one of them.

Dave Simms was the scene-stealer as Buzz. His handling of the comedy was flawless and he provided almost a laugh a minute whilst maintaining the drama that permeated his HIV-positive character.

The other standout performance was by David Sinclair as twin brothers John and James. They are diametrically different characters and Sinclair separated the two with expertise. Also featuring were Carl Nilsson-Polias as Bobby, the blind lover to the much older Gregory (Chris Shepherd); James Edwards as Ramon, the young whore lusting after Bobby; and Trevor Meffert and Ben Passehl as the devoted, long-term couple.

The interesting set was stark yet practical, suggesting movement and musicality. It was eye-catching without being detracting.

This was the best production I have seen in a long time, and Mixed Salad Productions are to be congratulated for their premiere effort.

John Fitzpatrick, Encore Magazine, 3 December 2003

TERRENCE McNally's bittersweet comedy about gay men and their multiple foibles is not an outing for the faint-hearted.

On a superb blue-plate designed set from Louise Dunn, director Sally Putnam has assembled a tremendous ensemble to tell the story of a bunch of gay friends over three memorable holiday weekends.

It looks at the chain of events set off by the introduction of a promiscuous Puerto Rican dancer Ramon, whose conquests rip apart the fabric of long-term friendships.

James Edwards impresses as the randy Ramon, with top performances from Chris Shepherd as choreographer Gregory, Ben Passehl as the lawyer Perry, Trevor Meffert as his nurturing soulmate and David Sinclair in a difficult double act as twin brothers.

Dave Simms has a ball as the musical-obsessed Buzz and Carl Nilsson-Polias needs only a Texan accent to make his blind Bobby complete.

This is a moving and well-executed piece of theatre that is "tutu" good to miss in a busy Feast Festival.

Matt Byrne, Sunday Mail, 16 November 2003

TERRENCE McNally's 1994 play has been a movie and come back to the theatre, where its power, not to mention on-stage nudity, still emanates shock and presence.

It's set over three weekends in the country house of a leading New York choreographer, where four gay couples match and mingle.

It is an ideal curtain-raiser and companion to the 2003 Feast festival; a full-scale comedy enjoyable for all, yet twined completely in the arms of homosexual love. Mixed Salad Productions has assembled a first-rate cast of seven men, and every one of them works for their space on stage.

This production depends particularly on James Edwards, as the lithe and happy-go-lucky object of desire, Ramon, and on Dave Simms as laugh-a-minute stage musical fanatic, Buzz Hauser. Through energy and presence, Edwards and Simms illuminate the play, which is episodic, long and complex.

It is an exposition of homosexual love, with the good and the bad bits, and HIV-AIDS as a living presence. McNally wants to get close to the mixture of delight, compassion and isolation that he sees in this community, while locking in on warmth and witty comedy.

Director Sally Putnam has allowed a certain amount of blurriness, where a stronger sense of the flow of the underlying dramas might have helped. But these are summery weekends in luxury in upstate New York, and the warm indolence of some scenes is nearly palpable.

Louise Dunn's skewed shelving design is a strong motif for the play but even more effective is Nathan Evers' lighting designs which achieve amazing results with the Promethean's limited lighting options.

As I said, this is a play for the whole cast. As the ageing dancer/choreographer Gregory, Chris Shepherd has a rare blend of dance and acting abilities. His partner, the blind Bobby, is another sensitively handled role from Carl Nilsson-Polias. As the monogamous Arthur and Perry, Trevor Meffert and Ben Passehl give a new twist to the Odd Couple, while David Sinclair neatly differentiates twin brothers John and James; one healthy and sour, the other dying of AIDS and ecstatic.

Each moves forward with the three weekends, and McNally handles this complex dance of relationships with the fluidity of a master choreographer.

Tim Lloyd, The Advertiser, 8 November 2003

Eight gay friends get together for three long weekends - Memorial Day, Fourth of July and Labour Day. This is the premise of Mixed Salads Productions entry for this year's Feast Festival.

The star of this production is Terrence McNally's script, premiering for the first time in Adelaide . McNally has created eight characters who invite the audience into their lives, their relationships, their hopes and their fears.

The play is well narrated, sharing the story with each character, giving a different perspective and insight.

Gregory (ably performed by Chris Shepherd) owns the Victorian house in which the story is set and plays host to his friends with blind adoration. Shepherd has an endearing awkwardness with a glimmering of strength that is played well.

Gregory's blind partner, Bobby is equally appealing and performs with conviction, allowing the audience to believe at all times that he doesn't see.

The odd couple of the group, Arthur and Perry (Trevor Meffert and Ben Passehl) ably portray their functional, yet dysfunctional relationship - allowing audience members to glean further understanding of relationships, both homosexual and heterosexual.

James Edwards as Ramon is the character of exposition, exposing many of the qualities and flaws of the group. Edward's languid movements and good looks are perfect for the role, however his expressiveness is too big for the intimate venue.

Dave Simms as Buzz, the musical adoring friend, dying of AIDS is the highlight of the production. Simms has the ability to steal a scene without detracting from the other performers. His character receives many of the laughs as well as the tears and gives an element of dignity to the stereotypical "queen".

Finally, David Sinclair takes on the dual roles of John (the evil) and James (the good) Jekyll. Sinclair not only differentiates significantly between the roles, but manages each transition smoothly. Sinclair's subtle use of idiosyncrasies and movements polishes his characterisations well.

The design by Louise Dunn transforms the small stage, with a unique slanting set and mixed uses of props. Sally Putnam's direction makes good use of the stage, utilizing every inch, yet giving the impression of space.

So long as you don't mind a bit of nudity and strong language, this production is well worth the three acts of over three hours and is by far one of the best plays this year.

Hayley Horton, Adelaide Theatre Guide, 9 November 2003

Terrence McNally. Remember him? No? Oh, he was the librettist for 'Dead Man Walking' and wrote the book for the Broadway hit musical 'Kiss of the Spiderwoman.'

Although the title suggests another grandiose presentation, McNally uses 'Love! Valour! Compassion!' to quietly explore the love, valour and compassion among a group of homosexual men - who could be his theatre-life colleagues - holidaying at a country house in the time capsule of the three lazy long weekends over the American summer. I'll crudely summarise by saying 'Boys in the Band' meets Chekhov.

The odd thing about this production was that it kept smoldering and never combusted. McNally churned out the lively conversation topics and started a few situations, but ever achieved a denouement - more like real life, I suppose. However, the strong performances ensured that it was all very interesting to eavesdrop on and the players kept you listening - even if McNally took way too long so say not much.

Chris Shepherd might have played a 40s-ish choreographer and dancer so well because he is a 40s-ish choreographer and dancer, but there was much more to his performance than that. When he was practicing his dance moves, you are not be able to hear what's going on. His sensitive portrayal was very touching.

David Simms' comic style once again knocked me out in his interpretation of a nascent AIDS victim with an encyclopedic knowledge of the musical and its practitioners. James Edwards was also pretty watchable with great body language but an irritating volume and an annoyingly inconsistent accent. Be prepared for plenty of skin in this show from all members!

Director Sally Putnam and designer Louise Dunn have accomplished a welcoming and comfortable atmosphere for and amongst the players and it easily drifts off the stage into the theatre - although I got the idea after just two opening songs.

Mixed Salad Productions found an angel and put on the best opening night nibblies outside the big tent on the Torrens. They are a warm and generous company and you should check out their production.

Amazingly, given that so many of the cast and creative team are, or have been, principals in other companies, and they had a terrific advertising campaign with a sharp poster (and equally sharp program), they couldn't manage a tiny full house on the first night. Go figure.

David Grybowski, dB Magazine, 13 November 2003