GOD-BELLY Review
The first thing you notice are the crumpets. As the audience files downstairs to Q Theatre’s Vault to experience the opening night of GOD-BELLY, the stairs are strewn with the small flat rounds of doughy goodness, and when we step into the theatre space itself, the entire stage is littered with packet after packet of the things. The relevance of said crumpets will prove to be just one of the problematic themes found in this production.
Exploring themes of physicality, primarily self-deprivation, endurance and control, GOD-BELLY is a test of endurance unto itself. At over 2 hours long, including an interval, the show is far too long and does itself no favours by taking such an extended period of time to explore its themes.
We see the juxtaposition of a 14thcentury nun who self-flagellates to the point of collapse, with the self-imposed punishment of a young Auckland woman who detoxes and runs to control her weight, yet the two stories rarely intersect beyond the sharing of common concepts. The crumpets are referenced as a communion wafer as well as a bingeing/purging vessel, but beyond these relatively brief allusions, they seem to just be present to demonstrate chaos. Chaotic also is the revolving door of settings and characters the two actors inhabit, as we swing from running to a nightclub to the monastery and beyond. It’s just a little bit unhinged.
There is no denying the physical prowess of the show’s two actors (the undeniably magnetic Rosie Tapsell and Andrew Gunn), who are both on stage for the entirety of the performance and hold the audience’s attention with a dynamic exhibition that includes running, wrestling and dance. This endurance of the show’s creators and actors is impressive, and the play does include bursts of clever humour. Unfortunately these highlights aren’t enough to save this production from its own length and labours.
GOD-BELLY is on at Q Theatre’s Vault until 13 September.
Reviewed by Natalie Ridler