Reviewed by: Molly Lidgerwood
Editor: Sophia Zikic
Louise Siversen and Peter Houghton’s time travel comedy Underneath Ms Archer intersects the complexities of the twenty-first century with the brutality of the Middle Ages, ultimately providing a hysterical, riotous, and dynamic 95-minute spectacle that is not to be missed.
Set in contemporary London, the play depicts the consequences of Kelly Archer’s (Louise Siversen) controversial decision, as a flight attendant of 35 years, to strike an arrogant passenger on a recent flight. Prepared to abandon London and head home to Perth at the nearest opportunity, Kelly’s escape plan is derailed when William Marshall (Peter Houghton) – medieval soldier and statesperson – arises out of her basement sofa.
Despite being set in London, the play was uniquely Australian, with the set’s embellishment of vegemite and milo tins, and an abundance of jokes spanning from Werribee sewerage to AFL-mania. Sophie Woodward and Jacob Battista’s set illuminated the domesticity that haunts Kelly, reminding her of her mother’s death and their past struggles. I particularly liked the centralisation of the basement as the stairs, stable and realistic, ascended to an unreachable outside world.
Siversen warmed up the audience perfectly, with an opening which contextualised the incident, as we are introduced to the frenzied, frank, and slightly coarse – yet entertaining – Kelly Archer. Aside from a comical introduction, we were also introduced to a glimpse of darkness in Kelly’s past, as she ambiguously speaks to her guilt and unfinished business which is explored later in the play. While these moments were more sincere, it is not long before the laughs resume, as we are introduced to the one and only William Marshall. But William does not simply parade down the basement stairs; one glowing urn and one shaking sofa later, the medieval man ascends from, quite literally, underneath Ms Archer (or her basement at least). His arrival was gripping, and even ominous, as I was on the edge of my seat as the loud soundscape and darker lighting foregrounded his fist in the air, his body slowly emerging, as if escaping from his ancient grave. I was particularly pleased here, as I half-expected his portrayal to echo the cliched farce of Monty Python, yet I was greeted with Gothic undertones which are a testament to the sinister, and familiar, representations of the medieval in texts such as Macbeth or Game of Thrones.
Beyond their ability to command the stage, Siversen and Houghton’s writing was witty and engaging. While having a cast of only two performers has the potential to problematise their project, their writing is flawless as they manage to create a quick pace, natural yet comedic dialogue. William’s arrival was especially amusing, as he originally speaks in old English, creating a humorous introduction, as he struggles to communicate with his twenty-first century counterpart, and is overwhelmed by the modern surroundings. After about ten or fifteen minutes of his old English, it became slightly tedious, and I was worried for how the production would continue in this way, but the duo’s writing skilfully adapted as William begins to speak in a more recognisable form of English, without losing his medieval qualities or comedic differences.
Siversen and Houghton’s performance was supported by the creativity of the production team, which amplified the comical tension between the Middle Ages and the twenty-first century. The joint efforts of Woodward, Battista and Bronwyn Pringle created a brilliant transformation of the space through the set and the lighting, wich was a notable standout., In particular a large painting of a ship, leading up the staircase. While it appears to be an ordinary painting, it is skilfully manipulated to be revealed as translucent, and an emerging light illuminates William behind it, equipped with a bow-and-arrow, as the audience peeks into the debris of history, right within Kelly’s basement. This clever use of the intersecting set and lighting enabled the performance to foreground the importance of history, as the characters form a relationship which allows them to combat the unique challenges they face.
It is clear that the genius of Underneath Ms Archer has not stemmed from one mind, but a masterful creative team that brought life on stage, serving as an enduring reminder of the formidable talent that Australian theatre has to offer. Aside from its enduring humour and entertainment, Underneath Ms Archer ultimately exemplifies that we aren’t all that different, and no one, regardless of their anachronisms, can deny the magic of a good old Tim Tam slam.
Underneath Ms Archer runs from the 21st of June – 16th of July at Irene Mitchel Studio, South Yarra.
The Dialog 