Reviews
Ewen Coleman, 5 Nov 2011
originally published in The Dominion Post
The tempestuous lives of female film stars have been the subject of many books, films, and documentaries. To therefore create a play about a Hollywood diva that is fresh and interesting is a challenge yet Phil Ormsby has done just that with his play Drowning In Veronica Lake currently playing at Circa 2.
Beginning life earlier this year as part of the Wellington Fringe Festival, it has subsequently toured NZ during which time the production has been reworked. Director Simon Coleman has developed more animation through the solo performance of Alex Ellis in her role as 1940's film star Veronica Lake and Nik Janiurek's innovative and creative lighting is even more so in the intimacy of the Circa 2 theatre.
The essence of the play however remains the same, the rise and fall of one of Hollywood's most notable pre-war siren's, Veronica Lake and how with her signature look – a wisp of blonde hair over her right eye, and a string of men, most notably Alan Ladd, she quickly rose to fame then just as quickly faded, mainly caused by alcohol and an unpredictable personality.
At some point she admits she has no talent and that it is all just an illusion, and from Alex Ellis's enthralling performance this is very evident.
Somewhat taller than the diminutive Lake, Ellis nevertheless has the hair and looks to convey the sultry image so associated with the famous film star. But it is not just the look that Ellis gets right but the emotional turmoil associated with one minute living the high life then dealing with being in the doldrums.
This is no chronological biography following a year by year account of her life but rather a fascinating glimpse into moments of her life that writer Ormsby has cleverly constructed into a structure that moves effortlessly from scene to scene.
In one, Ellis is Lake at her best, or worst, the next as her dominating mother regaling Lake about one thing after another.
And all this is done for an hour with Ellis never moving from centre stage, except occasionally to fall and get back up in the same spot. And so it is to the credit of Ellis's ability, and confidence, that she is able to engaging the audience so telling from the one spot for such an extended period of time
The effectiveness of this is aided considerably by a body hugging and revealing white dress designed by Sara Taylor that then flow's out over the whole stage. Yet the simplicity of the set belies the complexity of the character and together they combine, with Ellis's outstanding performance, to make this a wholly satisfying production.
Fringe 2011
Drowning in Veronica Lake
Written by Phil Ormsby
Director: Simon Coleman
presented by Flaxworks
at The Garden Club, 13b Dixon Street, Wellington
From 22 Feb 2011 to 26 Feb 2011
[1hr]
Reviewed by John Smythe, 23 Feb 2011
She’s been poured into her frock before the show begins and remains imprisoned in it: a figure-hugging sheath with a huge fanning out circular hem; a swirl that could be pushing her up or dragging her down. Thus she stands – and falls – as an icon of Hollywood stardom.
This is a bravura performance from Alix Ellis; playful, provocative and poignant. As with Beckett’s Happy Days, the physical constraint becomes a ‘less-is-more’ plus, focussing us on the trap that Veronica Lake’s stardom has become. And as with Motherlock (reviewed yesterday), it’s a past-tense monologue, yet this time it works.
Why? Because from her ‘after-life’ position somewhere between Paramount and Purgatory, Veronica has her life in perspective. Not that she spoon-feeds us with pre-digested post-life self-awareness and judgements. She tells it like it was with wit and perception, interleaving her own point of view with that of her mother (who famously sued her) and to a lesser extent her various husbands.
Plus she splits herself between the Connie Ockelman she was born as and the ‘immortal’ Veronica Lake persona which has largely been consigned to obscurity. And she often inhabits the recalled moments, especially as her mother and in conflict with her, which is much more dramatic than mere reportage.
The story – of exploitation and abuse, often self-inflicted, in pursuit of an impossible dream – belongs to a thousand stars and offers nothing countless bio-pics have not already explored, which does lead me to wonder why so much time, energy and talent has been expended on this particular topic. But given so many young people say their main goal in life is to be famous, regular reminders of where celebrity and stardom can lead must always remain relevant.
Playwright Phil Ormsby has crafted the monologue through peaks and troughs, distilling the particular story so that it resonates well beyond itself, offering insights into beliefs and value systems that have both changed and remained the same.
Director Simon Coleman has worked with Ellis to compel our attention, play with our emotions and get us thinking – abetted by Nik Janiurek’s excellent lighting and Jamie Linehan’s evocative soundscape. And Sara Taylor created the frock: the whirlpool that sucks her in .
Fringe 2011
Drowning in Veronica Lake
Written by Phil Ormsby
Director: Simon Coleman
presented by Flaxworks
Reviewed by Ewen Coleman, 24 Feb 2011
originally published in The Dominion Post
Known for her sultry looks, honey blonde ‘peekaboo’ hairstyle and her association with Alan Ladd, Veronica Lake is the subject of a fascinating new play Drowning In Lake Veronica by Phil Ormsby, in this year’s Fringe Festival.
Married four times, an alcoholic – she died of hepatitis and acute renal failure aged 50, sued by her mother, made bankrupt by the Inland Revenue, Veronica Lake also had her pilots licence and flew solo from Los Angeles and New York.
All this and more is brought out in a stunning performance by Alex Ellis as Lake. Looking very much the part, Ellis remains centre stage for the whole performance in a body hugging white dress that wraps around her legs and flows out across the whole stage.
It is no mean feat for one person to hold an audience’s attention for an hour but to do so from the same spot is to the credit of not only Ellis’s performance but writer Phil Ormsby’s lively intelligent script, Simon Coleman’s creative directing and Nik Janiurek’s innovative lighting.
In small scenes, each differently lit to convey the changing moods of Lakes life, Ellis not only relates Lakes life from her own perspective but uses other characters, a major one being her dominating mother, to interact against.
This is not a year by year life story but highlights of the crucial moments of Lakes life and the emotion and trauma under pinning these monuments. A fascinating story excellently told and well worth seeing.
Veronica lives on! [by Sharu Delilkan]
Fringe 2011
Drowning in Veronica Lake
Written by Phil Ormsby
Director: Simon Coleman
presented by Flaxworks
at The Basement, lower Greys Ave, Auckland
From March 6th - 8th, 2011
[1hr]
Alex Ellis has got the whole package – the petite frame, platinum blonde hair and Veronica Lake’s signature peek-a-boo bangs, which became a phenomenon in the 1940s.
She may be a lot taller than Lake was in real life (5 ft 11 in instead of 5 ft 2 in) but that doesn’t detract from the image that we have of the big screen’s famous blonde bombshell.
Ellis oozes sultriness, sex and seductivenessas soon as you walk into the theatre doors,greeting you with her back to the audience.
Her plunging back coupled with the dramatic flounce of her body hugging dress draped for metres around her feet on the floor creates the ‘lake-like’ metaphor signifying the ‘Drowning in Veronica Lake’. Sara Taylor’s costume is brilliantly executed and bears the hallmark of her mentor,costume designer extraordinaire Elizabeth Whiting.
During the show I couldn’t help scrutinizing the garment in its different personas, compliments of Nik Janiurek’s exquisite mood lighting, only to realise that despite the rich look of the garment it’s been made entirely out of calico – cheap unbleached not fully-processed cotton. An innovative economic decision that proves you can indeed make a silk purse out of a sow's ear.
Congratulations to director Simon Coleman for expertly re-interpreting the multiple and conflicting versions of the movie star’s life story.
The minimal yet definitively dramatic set (which is basically her dress) accentuates the live performer playing a has-been movie star, who’s desperate to reclaim her screen siren status.
Clearly I can’t say enough about the dress. But I have to mention the dress’ clever use where it’s wringed and tangled each time Ellis turns away from the crowd creating yet another fabulous metaphor of her trapped life which she dreaded.
Writer Phil Ormsby should be especially proud of his smartly crafted script, riddled with memorable one-liners, which are a constant source of humour. Personal favourites include “I took to motherhood like a duck to vodka” and “More irony than a scrap yard”.
Jamie Linehan’s choice of background music as well as the all too familiar sound of paparazzi cameras clicking away punctuate the show, adding a third dimension.
Elli’s rendition of Lake is evident that her legacy is alive and definitely kicking.
It’s not long before it becomes glaringly obvious that Constance Frances Marie Ockelmanaka Lake despises her out-going glamorous persona, which is depicted as a major contributor to self-destruction and ultimately her downward spiral to a scandalous tragic end.
Watching her flit between Lake and her mother, with the heavy Brooklyn accent, as well as occasionally doing impressions of her Hungarian husband, is reminiscent of her previous one-woman shows Biscuit and Coffee as well as Murder by Chocolate where she played numerous characters effortlessly. This is also beautifully complemented by her schizophrenic characterisation of Veronica whichis revealed as her story unravels.
Ellis seems perfectly at ease and is able to keep the audience captivated throughout the 60-minute performance – a length that seemed perfect because of the play’s intensity.
She skilfully takes the audience, with the support of Ormsby’s eloquent script, on a highly emotive journey that’s both touching and real. Sometimes a bit ‘too real’ making people visibly squirm in their seats due to its harsh reality.
The show’s messages are loud and clear – ‘all that glitters is not gold’ and ‘be careful what you wish for, lest it comes true’.
Highly recommended on all levels – for the acting, directing, dramatic costume and script.
An absolute must see in my books. But who am I to judge for as Lake says “Who remembers critics anyway”…