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| Andrea Katz (at piano), Toby Truslove, Ellen Burstyn & Lisa McCune in 33 Variations. Photo: Lachlan Woods |
In 1819, Anton Diabelli, a music publisher, sent a waltz of
his creation to all the important composers of the time, including Ludwig van
Beethoven. He wanted to publish the collection of variations and Beethoven at
first refused to be involved – and then he ended up writing thirty-three
variations on Diabelli’s waltz.
In the present, musicologist Katharine Brandt is obsessed
with trying to understand why Beethoven chose to write such a feat of musical
composition. But as she gets ready to travel to Bonn in Germany to continue her
research, she is diagnosed with amyotrophic lateral sclerosis (ALS) – and her
daughter Clara wonders if her mother should even be going.
As Katharine’s body begins to deteriorate, we see her
suffering paralleled with Beethoven’s frustration with the Diabelli Variations –
and his struggles with losing his hearing. The deeper Katharine studies the
great man’s work, the harder it becomes for her to understand his motivations.
Producer Cameron Lukey has assembled an all-star cast for
this production in Melbourne, led by Oscar/Emmy/Tony-winner Ellen Burstyn in
the role of Katharine Brandt. It’s unusual for such a high-profile overseas
actor to be cast in a local production, rather than visiting with an international
touring show; the opening-night audience showed their appreciation with
entrance applause – something I’ve only ever seen happen at Broadway shows.
Burstyn is joined by Lisa McCune, playing Katharine’s
daughter, Clara. They are a strong match on stage, sparring throughout even as Katharine’s
health deteriorates and the pair can’t agree on her end-of-life plan. Toby
Truslove plays Katharine’s nurse who later becomes Clara’s boyfriend, and he’s
predictably goofy, throwing in some welcome physical comedy in amongst the
heavy drama.
William McInnes is commanding in the role of Beethoven,
veering between arrogant and tortured genius and finding his way to composer
who is suffering – a transformation that is surprisingly affecting. He gets to argue
with Francis Greenslade as Diabelli and Andre de Vanny as Schindler, his
assistant. As the play progresses, Beethoven becomes less of an enigma and more
of a man that Katharine can understand and relate to.
Moises Kaufman’s script is strong, really digging into
Katharine and Clara’s relationship – one that is difficult to watch at times,
as Katharine confesses that she’s scared that Clara will only ever be mediocre.
And the role of Katharine is such a gift for a female actor who is now in her eighties.
Dann Barber’s set is striking on first entering the theatre;
two levels, lots of classic arches and metallic railing that looks like a
musical stave. Slowly, over the course of the play, it reveals further depths
and the use of digital screens and cameras was effective, especially during the
sequence when Katharine is undergoing scans at the hospital.
Pianist Andrea Katz is on stage the whole time, playing the
different variations exquisitely, though she’s also used effectively during
dramatic moments when Beethoven loses his temper or Katharine is lost in the
music.
There were a few dialogue stumbles on opening night and the
doors on the set sometimes didn’t quite close as they were supposed to. But
director Gary Abrahams’ vision for the play is as clear and precise as the
notes in Beethoven’s sketch books; a grand, perfect façade can belie an
inability to communicate – which is the greatest tragedy of all. For an artist
and for a parent and child.
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