‘The Lady Aoi’ (pronounced Ah-we) is Black Swan’s new production at the Playhouse in Perth. It is ingeniously directed by Michael Lutton and is showing at 8.00 pm until February 17^th.

At 50 minutes, this I quite a short play, but it is quality not quantity that counts. Thanks to the absolutely brilliant sound design (Kingsley Reeve), lighting (Nick Higgins), mechanics (David O’Halloran) and extreme perspective set (Bryan Woltjen) which has a 40 degree floor rake. The Rapunzel opening is one to remember.

There then follows three actor entries which are either unique, or forever memorable. The first 10 minutes one just gasped in amazement. Ash Gibson Greig’s music – as always was appropriate and superbly presented.

The play of ‘Lady Aoi’ is based on an original 1000 year old Japanese story, which has been updated by Yukio Mishima. The new story line has different symbolism to the original, but is still most effective and retains the ghostly atmosphere of the first. Lady Aoi (Claudia Alessi) is in a coma in hospital and undergoing some strange and radical therapy from an unusual nurse (Samantha Murray). Whilst Lady Aoi’s husband (Keagan Kang) is visiting her, he hears of an old lady (Michelle Fornasier) that makes frequent visits at odd hours. He waits, and finds it is someone from his past.

The acting style is different to the normal run of the mill, but skilfully executed. The moving images on the ‘live’ walls were photographically beautiful and technically brilliant (Sohan Ariel Hayes). However after about half an hour, I found my attention drifting slightly. So why was this? The script. Sadly, it was like getting a particularly beautiful box of chocolates, great wrapping, presentation but on biting, being a little disappointed. 

Thanks to the immense talents of the technicians and actors, the show is still very much worth going to see. A special mention for Claudia, who lived through blood, sweat, tears and major suffering for her craft.  A definite experience in the theatre.

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