Review by What's Up Christchurch Principal Reviewer, Ruth Agnew, 15 May 2017
Helen Moran as Frances Hodgkins. Photo: John Collie
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What better place than the Christchurch Art Gallery to present a play about one of Aotearoa New Zealand’s foremost artists, Frances Hodgkins? The Phillip Carter Auditorium is a truly fitting place to reveal the woman behind the canvas.
The intimacy of the performance space is highlighted by Julian Southgate’s meticulously detailed set.
As with many of Southgate’s designs, the recreation of Hodgkin’s bedsit is something of a work of art itself.
Packed with well used, worn out wartime household objects, the cramped space and closeness to the audience conveys the idea of the difficulty of life as an impoverished artist.
Helen Moran’s bird-like, slightly batty portrayal of Hodgkins is brilliant, showing her as deeply flawed without apology, yet winning the audience’s understanding and sympathy for this genius driven to create above all else.
In the hands of a lesser actor, Hodgkins could be unlikeable, but Moran’s nuanced performance shows the complex nature of the artist.
While Poverty and Muse is indisputably powered by Moran’s strong lead, it also boasts a strong supporting cast.
David Allan is a sinister shadow as Poverty, making excellent use of his rich vocal tones.
In perfect contrast, Julia Guthrey’s Muse floats around the crowded stage, her voice as melodic as Allan’s is menacing.
Charlie Grubb as nephew Peter brings gravitas to Hodgkins’ world, as his presence forces her to face the reality of her situation.
Karen Zelas has tackled an ambitious task in bringing Hodgkins to the stage. It is clear this work is well researched, as it is packed with facts and events from her life.
At times it does seem that more sacrifices could have been made, as the script is perhaps too densely packed, especially for the 75 minute running time.
The most successful moments of the play come when Zelas explores the inner workings of Hodgkins’ mind, the despair and ecstasy, the determination and uncertainty, the fear and the joy she experiences as she pursues her passion.
Overall, Poverty and Muse is a fitting tribute to commemorate 70 years since Hodgkins’ death.
It would have been wonderful if we could have seen some of her actual works as she discussed them or agonised over their creation.
Definitely deserving of a revival, perhaps the next season could make use of multimedia technology to incorporate her artwork.
What better place than the Christchurch Art Gallery to present a play about one of Aotearoa New Zealand’s foremost artists, Frances Hodgkins? The Phillip Carter Auditorium is a truly fitting place to reveal the woman behind the canvas.
The intimacy of the performance space is highlighted by Julian Southgate’s meticulously detailed set.
As with many of Southgate’s designs, the recreation of Hodgkin’s bedsit is something of a work of art itself.
Packed with well used, worn out wartime household objects, the cramped space and closeness to the audience conveys the idea of the difficulty of life as an impoverished artist.
Helen Moran’s bird-like, slightly batty portrayal of Hodgkins is brilliant, showing her as deeply flawed without apology, yet winning the audience’s understanding and sympathy for this genius driven to create above all else.
In the hands of a lesser actor, Hodgkins could be unlikeable, but Moran’s nuanced performance shows the complex nature of the artist.
While Poverty and Muse is indisputably powered by Moran’s strong lead, it also boasts a strong supporting cast.
David Allan is a sinister shadow as Poverty, making excellent use of his rich vocal tones.
In perfect contrast, Julia Guthrey’s Muse floats around the crowded stage, her voice as melodic as Allan’s is menacing.
Charlie Grubb as nephew Peter brings gravitas to Hodgkins’ world, as his presence forces her to face the reality of her situation.
Karen Zelas has tackled an ambitious task in bringing Hodgkins to the stage. It is clear this work is well researched, as it is packed with facts and events from her life.
At times it does seem that more sacrifices could have been made, as the script is perhaps too densely packed, especially for the 75 minute running time.
The most successful moments of the play come when Zelas explores the inner workings of Hodgkins’ mind, the despair and ecstasy, the determination and uncertainty, the fear and the joy she experiences as she pursues her passion.
Overall, Poverty and Muse is a fitting tribute to commemorate 70 years since Hodgkins’ death.
It would have been wonderful if we could have seen some of her actual works as she discussed them or agonised over their creation.
Definitely deserving of a revival, perhaps the next season could make use of multimedia technology to incorporate her artwork.