As we are drawn deeply into the lives of these five people, we begin an emotional rollercoaster ride, from laugh-out-loud humour, quips, and fast-paced witty lines to quieter, poignant moments, which at times become totally absorbing.
The portrayal and diversity of characters was reflected by the individuality, strength, and experience of each actor. All five totally owned their roles, so much so, that at times I was unable to ascertain whether they were acting or just being themselves. Either way it worked brilliantly, especially Knox, the epitome of the Kiwi bloke who just wanted to be left alone in his shed, pull a cold beer from the fridge and watch sport on the TV.
The awkwardness of insecure and timid Louise (Jerrie Lee Ngareta Hill) draws on our empathy and when, after a few too many drinks, she poured forth details of her life, it was hard not to be drawn deeply into her personal anguish.
In contrast, horse breeder Helen (Bridget Maher) was not one for small talk or baking cakes but happy to deliver horse manure as a substitute. Her reason for being at the workshop soon becomes obvious. Both Maher and Brenda Cooke, who plays assertive, therapeutic councillor Annabel, are familiar faces on the Te Puke Repertory stage and are totally at ease and commanding in their respective but very different character roles.
Energetic and effervescent Siobahn from Ireland (played by Sammie Campbell) brings life and energy to both the Pink Hammer workshop and the play. A free spirit, her engaging laughter, girlish chit-chat, and hilarious reference to her Irish Catholic upbringing, keeps the laughter coming. Campbell is brilliantly cast in this role. She excelled in engaging with the audience and totally connected with them. A talented and gifted actress with a fabulous singing voice, she's one to watch out for in future shows.
Along with the five actors there is a world of others we get to know through dialogue; Woody's wife Maggie, Siobhan's family in Ireland, Louise's late mother, father and caregiver, and Annabel's husband and son.
It's a wordy script and pacing is crucial to keeping the momentum of the play. Full kudos to Michelle Cliff's directing. Her clear vision has led to a memorable play that brings out the strength of both characters and actors as well as embracing their diversity by incorporating carefully researched cultural aspects. Her meticulous attention to detail can be seen from the familiarity of the set construction complete with tool outlines, sawdust on the floor and girlie calendar (which was quickly removed by Annabel), to the carefully timed audio choreography, which was needed to intersperse dialogue among the sounds of sawing, hammering, and drilling.
Like all DIY projects, endings are not always as you would expect, so be it with The Pink Hammer. Michelle Cliff and Te Puke Repertory have produced a show with a professionalism comparable to anything you'd find in the big city.
Warning: Contains some swearing, but nothing you wouldn't hear in any man-cave!
