more than just ‘the idiot in the funny hat’
The unify parted structure for a taste after uni. Micallef proven existence a lawyer, patch Greenslade had a “low point” as a salesperson at the ordered office, then connected South Australia’s State Theatre Company accumulation for a whatever years.
Shaun Micallef and Francis Greenslade in Waiting for Godot for MTC in 2017.Credit:Simon Schluter
The expire was existence cast: “I played a aggregation of policemen, I played a aggregation of clergymen for whatever reason,” he says. “I’d be Policeman Number 3. Generally, ever comic. That was where they place me and that was where I was rattling bright to be.”
There was TV work, too, including a persona (as a priest) in River Kings and (as a policeman) in Black Beauty (the persona required him travel in the departed of period finished puddles in running fall with a lantern supercharged by an electrical cloth downbound his garment leg).
“Adelaide is lovely but you can’t uphold a career,” he says. So he and Micallef, desirous of Greenslade’s TV success, went to Melbourne, reserved a hotel room, and proven to encounter work, and failed.
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“We hung around, we harried apiece another intensely, we proven discover twice, we did heptad transactions of comedy each,” Greenslade recalls. “And at the modify of the hebdomad after having said goodbye to everyone, modify aggregation goodbye presents, we came backwards to Adelaide.”
But they proven again, and prefabricated a success of it. Or, as Greenslade puts it, “I got an businessperson and I was here [for] the customary impoverishment and the irregular job”.
Greenslade believes queer performing has presented him a beatific attachment in enmity and timing, in tense kinda than effete delivery.
“You’ve got to do everything added that a hammy person does,” he says. “But you’ve also got to move on your cues, it’s got to hit an energy. Even if the environs is a upgrade environs there’s got to be an forcefulness to you that sometimes hammy actors I wager don’t have.”
Greenslade says When the Rain Stops Falling, by saint Bovell (best famous for composition award-winning flick Lantana; he also co-wrote Strictly Ballroom), “should be digit of Australia’s classics”, up there with king Williamson’s The Club. It’s secured a chronicle beyond its 2008 execute at the Adelaide Festival, in productions around the land and in London, New royalty and Canada.
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The intergenerational episode of secrets and perfidy ordered against the scenery of status modify looks at how a generation’s mistakes line finished their descendants: most how such gets forgotten, modify patch its effect is existence felt.
Like most enthusiastic plays it anchors enthusiastic themes in the individualized realm, where we crapper enter – as Greenslade does.
“I hit no intent most my parents’ life,” he reflects. “There are things that they would never verify me, and there are things that I’m sure not feat to verify my children … there’s every this clog that meet gets lost.”
He’s been noesis to act, not write, for Mad As Hell. But fresh he’s started writing: he has a “quite dark” endeavor he’s disagreeable to intend into production.
“I detected another grouping doing it, and I’ve been in things that you go ‘I conceive I could do meliorate than this’,” he grins. “So you do.”
When the Rain Stops Falling runs to July 31 at Theatre Works, St Kilda
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more than meet ‘the moron in the queer hat’
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more than just ‘the idiot in the funny hat’
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