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Port Review: This Simon Stephen’s drama spans years of a single life

Type – Drama, Time-Spanning, British
If you likedBoyhood, Iphigenia in Splott (Old Fitz), Bluebird by Simon Stephens

Port: A grounded leading role grants us insight into the fears of not living a meaningful existence, guided by a steady directorial hand

The existence of mediocrity is not an unfounded reality for many who sit in the middle, and especially the lower, of working classes. In truth, those who fear their life creeps into this space often seek thrills and enter dangerous territories in the hope of shaping some sort of meaning. Simon Stephen’s 2002 play Port focus on the slow crawl that we inch towards death, and the strings of meaning we grasp onto throughout our time on this continuously twirling planet.

Racheal (Grace Stamnas) is our anchor throughout the stormy undercurrent that is Port. The action takes place between two-three year gaps in the town of Stockport in the north-west of England. Port is neither extravagant nor dull but sits somewhere in the middle, almost echoing the monotony that Rachael fears. It reflects an almost personal history from its writer, each segment broken up into pieces that are seemingly viewed as though through cracks in a window; each feels part of a larger panel but they don’t truly end sharply.

Port, KXT on Broadway. Image: Phil Erbacher
Port, KXT on Broadway. Image: Phil Erbacher

The elements that shine in Port

Direction by Nigel Turner-Carroll maintains a continuous pull into Rachael’s world. Like a slow lure we fall into the everyday conversation that Stephen’s real world rhythm creates. Turner-Carroll also discovers the joy in choreographing sharp and thematic scene transitions. It’s not a barb to say that these transitions were a highlight of this production of Port. Parcan lights cut through doorways as the cast work as one to shift chairs, desks and props on stage in synchronicity under hues of cobalt and indigo, or adding emotive elements of the characters we met in the previous scene. These are deliberate directorial choices, and in making these Turner-Carroll helps us leap from one scene to the next as though we’re being physically transported through time with Rachael. 

Together with Soham Apte’s simple, transformative set and Travis Kecek’s lighting that helps place us securely in time and space, the production feels on even ground, even if what we find at the end of Rachael’s story is nothing grandiose. Benedict Janeczko-Taylor’s costumes also aid us in crossing eras, the 90’s windbreaker jackets make a nostalgic appearance as young misfits run from a spontaneous break and enter, while the hemlines of jackets and skirts lose material the further we continue past the year 2000.

Moving through time to find meaning

Stephen’s world of Stockport is slippery and raw as our central heroine feels out of place against the community around her. She declares that the best things about the town are “Man U” and the teacher who gifts their class with new linguistics such as “catatonia” and “philanthropy”. But there is also an element of deadpan realness amongst the losses and gains: wife-beating, smash-and-grabs and granny-bashing feature, making it a slowly bubbling and chaotic existence at the same time. 

Throughout, Stamnas’ Rachael feels fully lived in. From a young, almost-teen sitting in a car, terrorising her younger brother, there’s an eerie sense of foundational building at play. It’s not until we come back to this same location at the play’s end that we see a full-bodied woman sitting before us. You feel like you know Rachael, that you could see her in the bottleneck bar afterwards for a pint. Stamnas has cut a slice of theatrical cake for herself by also producing Port in the new production company, December Theatre Co, and it seems she gets to eat it too.

Opposite Stamnas, James Collins’ Danny gives a bold element of truth to their scenes together, from a budding relationship, to the realisation of the one that got away. The rest of the ensemble cast feels a cemented force, as they revolve around Stamna’s Rachael, giving the piece the same earthiness to it. No role feels too small, nor too big in Stephen’s world as each works seamlessly under Diego Retamales’ visceral fight choreography. 

Is Port Worth Seeing in Sydney?

The fear of death and mediocrity may, on the surface, not seem like the most physical of fears, but there’s a dire yearning for more found in Port that challenges this notion. A strong lead and a focused ensemble, led by a firm directorial hand makes this production a worthwhile viewing and a grand entrance from December Theatre Co in the world of independent theatre. 

Port, KXT on Broadway. Image: Phil Erbacher
Port, KXT on Broadway. Image: Phil Erbacher

Tickets and Practical Info for SHOW NAME in CITY 🎟️

This season is playing at KXT on Broadway || 181 Broadway, Ultimo
Season: Until October 4th

Tickets: https://www.kingsxtheatre.com/port

CAST
Grace Stamnas, James Collins, Megan O’Connell, Rachel Crossan, Kyle Barrett, Finn Middleton, Owen Hasluck, Benjamin Louttit
Understudies: Jason Jefferies and Georgia Britt
Understudies: will perform on Wednesday 01 October

CREATIVES
Director: Nigel Turner-Carroll
Set Design: Soham Apte 
Lighting Design: Travis Kecek 
Costume Design: Benedict Janeczko-Taylor 
Sound Design: Cameron Smoth 
Voice & Dialect Coach: Patrick Klavins 
Stage Management: Jasmine Power 
Fight Choreographer: Diego Retamales 
Intimacy Consultant: Madelaine Osborn 
Videographer & Marketing: Content Michael Yore
Producers: Grace Stamnas & Jason Jefferies 
Assoc Producer/ Production: Lead Bella Thompson

Author Biography

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