Lovebox Review
Lovebox
Reviewer Helen Thomson
February 9, 2004
Written, directed and
performed by Sara Gregorius and Andrew Gillard, Red Stitch Actors Theatre, St
Kilda, until February 15.
Sara Gregorius from Sweden and Andrew Gillard from Andrew, pictured, met at L'Ecole International de Theatre Jacques Lecoq in Paris, and have formed a company called Tree Top Theatre. Their work is a mixture of mime, mask and music, and some text.
They
assume a variety of roles in sketches linked by the notion of love, and it is
as Alfred and Iris that they first greet the audience.
He
is a Colonel-Blimp type who blusters and bullies the audience stragglers; she
drops into Swedish at the first sign of stress.
Masked
figures of fun at the beginning, they later appear to act out the touching end
of their long love affair, until all that is left for Iris is their wonderful
love letters.
These
actors have a sharp though often affectionate eye for the peculiar in human
behaviour. 
The
mating game is presented in the form of a spermatozoon manfully making his way
towards a large, round ovum. At first snapping and snarling to drive off the
competition, finally there is a joyful union.
Much
later, we see how parenthood brings terror, awe, then joy to a young couple.
The
sketches are all brief, never over-milked for laughs, often witty and sharply
observed.
Animal
Bathroom, for example, sees a young working couple jostling for mirror space
in their bathroom, gradually transforming into jungle animals that reveal
their basic instincts.
Several
vignettes give versions of love at first sight: a touching, shy couple in the
library; a sophisticated pair of smokers; a couple of drinkers; two car
drivers; two restaurant diners; and a pair at the luggage carousel.
In
the briefest possible time, these talented performers flesh out distinct and
different characters. Their physical work is stylish and energetic, indicating
a background in dance as well as mime.
Their
work avoids the sentimentality that sometimes makes mime heavy going, and
their intelligent and economic use of text broadens the appeal.
A
nice counterpoint to the wedding vows, for example, is the formal speech
expressing deep love - fatally undermined by its exhaustive cliches.
Altogether, it's a thoroughly enjoyable show of wit and charm.
