Kris Weber's World of Theatre

THE HEIDI CHRONICLES by Wendy Wasserstein
Presented by Eltham Little Theatre
Directed by Chris Baldock
Reviewed (September 3) by K.E. Weber
Cast: Monica Klimek, James Robertson, Martin Mongelli, Simone Young, Lindsey Richardson, Clare Kraiten, Kerry Secombe, Steve Weigerink.

An interesting play which, through a series of interrelated scenes, traces the coming of age of Heidi Holland, a successful art historian, as she tries to find her bearings in a rapidly changing world. Gradually distancing herself from her friends, she watches them move from the idealism and political radicalism of their college years, through militant feminism and, eventually, back to the materialism which they had sought to reject in the first place. Heidi's own path to maturity involves an affair with Scoop Rosenbaum, a womanizing lawyer/publisher who eventually marries for money and position; a deeper but even more troubling relationship with Peter Patrone, a witty young pediatrician who turns out to be gay; and increasingly disturbing contacts with other women, now much changed, who were a part of her childhood and college years. The play ends with Heidi (having recently adopted a baby) and her new found fulfillment which may well, I think, continue to elude the others of her anxious, self-centered generation.

To begin, I liked Eltham's thrust stage, complemented by fairy lights, swatches of soft, pale material and mirror ball. The upstage area housed a centrally placed gold framed screen on which images of Heidi's early life were projected at the beginning of the play. Props, which were basic, and cubes were introduced as scenes required them. The acting space was not confined to the stage as actors used various acting, entrance and exit marks around the auditorium.

I attended Eltham's opening night so understood dialogue difficulties, dropped props and Martin Mongelli's (Peter Patrone) difficulty in finding the right hole for his jacket buttons, but first night jitters couldn't possibly have attributed to the inconsistent accents, poor projection, garbled speeches or actors who were simply not in the moment.

Sadly, Kerry Secombe (Becky, Clara, Denise) was guilty of most; she did not project, had accent difficulties, and was generally trite and superficial. Much of her dialogue was simply unintelligible - a problem that can and should have been rectified. Simone Young (Susan Johnston) lapsed into annoying parody in Act 11 (particularly evidenced in the New York restaurant scene) after some really fine moments in Act 1. Lindsey Richardson (Jill, Debbie, Lisa, Hostess) did the job and had lots of energy but more of a connection was required. Her accent was great - as well it should be! Clare Kraiten (Fran, Molly, Betsy, April) had some great moments and was particularly strong as Fran, the militant feminist.

Monica Klimek (Heidi Holland) was generally strong, looked right and certainly commanded many scenes - I particularly liked her work in the public hospital scene with Martin Mongelli - however her accent was never really on course.

Accents are difficult and crossing the line between one accent and another is common - Heidi was very Irish sounding for a while there!- but these problems can be easily remedied by listening and practice, particularly when the American accent is so accessible to us.

James Robertson, although needing to relax into his character more and curb his propensity for rushing dialogue, did have a good accent and was generally effective as the glib and arrogant Scoop Rosenbaum.

On the surface, Martin Mongelli portrayed the growing cynicism and surliness of his character well, but I would have liked to have seen more of Peter Patrone's vulnerability, confusion and pain - only possible if more internal and less external acting techniques are employed. Martin Mongelli also needed to work on his accent - lines would have worked so much better if his bold New York accent had been on par.

Overall, great potential was undermined by a general lack of discipline and commitment. A good play, but a disappointing opening to Eltham's season.