Whore

Philadelphia Grand Jury’s Going to the Casino (Tomorrow Night) is the perfect musical choice for entering Belvoir Downstairs for this production. Fast, loud and unremitting, it poses the hilariously rhetorical question — What could possibly go wrong? In fact, I did keep wondering this during Whore. Director Christopher Hurrell notes that Whore is set “in an emerging world of virtually unlimited freedom and dissolving boundaries”. Hence there was a sensation of being continually on edge, of anticipating calamity, and a feeling of dread at the possibilities that could befall the characters. Writer Rick Viede has partly drawn on his own experiences and travels, exploring other countries, lifestyles and attitudes. It is a tribute to the integrity of his writing that one really begins to care about these characters and their fates. Sara (Rhiannon Owen) has moved to London with the dream of “becoming more interesting”. She befriends Tim (Paul-William Mawhinney), who dreams of freedom of choice and works to finance this dream through prostitution. As Sara joins Tim on this path, they face some dangerous and potentially deadly consequences, as well as some hard truths about themselves. After an uncomfortably self-conscious and deliberately provocative opening scene, Whore settles into an edgy, assured pace. Owen’s Sara transforms from a slightly naïve yet youthfully self-assured girl to a young woman who has been to the edge. While there is no doubt that her experiences could indeed label her as “interesting”, as she so desired, in the end she craves normality — and peace. Owen confidently (and literally) strips away Sara’s layers and reconstructs her with compassion and honesty. Keith Agius and Ben Mortley are strong supports for the pair, playing various roles. They shift from comedic to threatening, officious to kind, with remarkable ease and skill. Mawhinney was a standout as the beleaguered Tim. His dream of creating his financial “buffer” through increasingly nasty and dangerous acts of prostitution was played out with raw, charismatic and poignant style. A sparse but cleverly versatile set perfectly complements the action. Justin Nardella has again shown his capacity to enhance a production through innovative design. The use of music is brilliant, brought about through collaboration with some of Sydney’s best bands. Arts Radar and Radio FBi94.5FM approached local artists to provide accompanying music for each of the ten scenes. The results are electric. At face value, Whore is what it says it is … the title sets the theme. But, as Viede notes, it is about much more than just selling oneself in the traditional definition of prostitution. Just how far one is willing to go to achieve one’s dreams — and at what cost? — is a universal challenge. And once the price has been paid, is the dream intact?
http://www.ozbabyboomers.com.au/theatre/2009/06_09/whore/whore.html/#>