Bruce Mason has been called the father of New Zealand Theatre, and in this, his last play written for the stage, he puts the role of patriarchy and societal conformity front and centre. In the latest offering from the Waipukurau Little Theatre, Blood of the Lamb brings us a richly drawn story that is deeply moving and bursting with life.
Directed by Sarah Rogers, her tonal choices are set just before the lights go up as the audience is presented with the warm glow of a lava lamp perched on a window ledge. Blood of the Lamb is set in the 1970s, and so a nod to that laid-back decade seems culturally appropriate - and yet that simple prop, a swirling maelstrom of blood red, is curiously calming and suddenly ominous, all at the same time.
The story is set on the patio of a homestead in Rangiora as a couple awaits the return of their only daughter, Victoria. She is now engaged to be married, but ran away five years before with no explanation to her parents. As the lights go up, we see a bridal veil spotlighted and are instantly soothed by the serene poise of Eliza Higginson, played by Lizzie Robertshaw, calmly sewing seed pearls onto the veil. Eliza is the story’s constant – the calm during the storm, and her patient and loving demeanour emanated from the actor in droves.
Bounding into consciousness and onto the stage comes Henry Higginson, played by Lisa Miles with complete vaudevillian abandon. Lisa brings Henry alive, and her performance is positively bursting with life and music and language. Henry leaves the audience wondering about his very presence; are we defined by the clothes we wear, outward fashion as authenticated by our culture, and our communities? Are we defined by the notions of a father and a mother, or does love know no bounds?
