Kieran Carroll’s work is a fascinating biography of writer Les Robinson which leaves you wanting more. It is a whimsical fragment which deserves more of an audience than was present at this performance.
Presented by: Type Faster Productions Venue: King Street Theatre Sydney (formerly Newtown Theatre) Friday 18th November 2011
Kieran Carroll’s work is a fascinating biography of writer Les Robinson which leaves you wanting more. It is a whimsical fragment which deserves more of an audience than was present at this performance. The play might be subtitled facts of a “phantasist”, a classification Robinson was given in the 1930s. Robinson is an elusive subject- a bohemian, cave dwelling Sydney writer who refused to pay rent or do menial work. Instead he lived in derelict houses about the city and caves around Middle Harbour and lived the life of an itinerant and freelance artist. Here he fished, kept his books, classical records and gramophone and one concession to society -a link to a post office box in town. Martin Portus plays Robinson masterfully with a mixture of the larrikin, lone outcast and humorous eccentric. In a particularly moving scene Portus reads from Slessor’s poem “Beach Burial” with tears in his eyes, saying “I could never write like that… “ Robinson wrote articles and short stories which were hard to classify but which were compared to Kafka in their tone of humorous fantasy. He wrote articles, essays and produced cartoons for The Bulletin, Punch, The Australian Worker and Lawson’s magazine Vision. He had one volume of short stories published- The Giraffe’s Uncle, in 1933 which was reprinted in 1995. Kenneth Slessor wrote a foreword for this predicting Robinson’s work might have been more successful in 1993 than in 1933. Alas, Slessor’s prediction has unfortunately proved unfounded. The playwright himself explains (by means of letters displayed in the play) he had trouble locating this edition. The play is as much a homage to bohemian Sydney as it is to Robinson from the 1920s to the 1960s. Director Ron Hadley interweaves photos and videos of scenes of the time when writers like Slessor, Lindsay and Stewart would drink in The Australian Hotel in company with Robinson who was described as ‘madly shaking hands’ with all and sundry. In this rich context it felt as though the playwright could have built more and that perhaps there is a bigger, broader canvas yet to be painted. Robinson eschewed society and society in return neglected him. He says in the play “sometimes my anonymity felt like a great prize”. Ultimately this work creates a poignantly sad portrait of this man who now lies, perhaps rightfully in an unmarked grave in Port Botany Cemetery. Until 27th Nov 2011 Bookings: Newtown theatre Phone (02) 95195081