By Peter Maddern
In the past 12 months this writer had seen his family home sold and then, holus bolus, demolished. “Have you seen what they have done to your home? Have you seen it?” has been a constant question as the carnage played itself out to which my response has only been – “the guy owns an abattoir – it comes with the territory.”
Brian Parks’s The House is all about this writ large, face to face. The Redmonds, Manny and her dentist husband have welcomed into their house the new owners, the Libbits, a young married professional couple looking to replicate the cycle of creating their own family in a house they are keen to make their own. When views differ about what the future holds for what is, after all, bricks and mortar, distain, anger and outright violence break out, all mixed with some Sam Peckinpah blood effects and all manner of mess that makes one wonders how they achieve the required 15 minute turnaround between shows.
The House is the most terrific fun, speaking to generational issues that are, as I mentioned, very real. All the cast sparkle in a production that is extraordinarily fast paced – right from kick off. It’s brilliant comedy and farce with a no holds barred approach to topics covered, including a refreshing use of material that Millennials may deem discomforting for this politically incorrect taint.
Don’t be deterred; it’s doubtful there is more captivating and riotous theatre anywhere this year. When such stuff is usually the province of the English, under director Margaret Perry’s direction, it can be safely announced the Yanks are great at this stuff too.
Kryztoff Rating 5K
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