Poets and Performers

Press, 25 June 1983, Page 8

Poets and Performers

“Poets and Performers” organised by the Arts Centre at the Free Theatre. June 24. Running time: 8.10 p.m. to 9.50 p.m. Reviewed by Gerrit Bahlman. On the last Friday of every month the Arts Centre becomes the focus of local poets who come to share their work and listen to their peers. Unadvertised, word of mouth has nevertheless generated full to bursting houses. First organised in March, 1982, the poets soon had to move from the too small, too cold Room Til to the Free Theatre. The Midwinter Razzle version of the monthly evening featured two guest poets, Rob Jackaman and Hugh Lauder, numerous impromptu “Open readings,” and an extensive performance of “Stiff Glue.” Rob Jackaman read six poems, four from his “Riccarton Suite” and two from his “Black Window” sequence. Topics ranged from the limitations of communication, television depression, to the frustrations of neighbours who have to put up with a poet’s wealth of oxalis. Hugh Lauder, whose poetry is short, punchy, and designed for impact, read

eight poems, covering such diversity as: why do I love you cutting “Onions”? love and death, reflections on exile, and the conflict twixt Fascism and religion. Members of the audience were invited to read their own works with the single restriction that only three items be presented. Poets identified were Michael Mitchum who read a sequence called “8 Kellys Road,” John Coulter who read a hilarious limerick, and Barry Southam who acted as the evening’s master of ceremonies. The bulk of the evening was filled by the enthusiastic originality of “Stiff Glue.” The usual trio was reduced to the duo of Mark di Somma and Rod Dunbar because of ill health of Joanne Poulson. “Stiff Glue’s” performance is similar in conception to that of Tom Lehrer — it is based on incisive wit extracted from the topical concerns of the day and is presented using satirical renditions of familiar tunes. The melodies are cleverly crafted and blended together, immediately attractive and sensitive to the comic timing of the lyrics. The performers in contrast are raw, unpolished, and not

at all abashed by their vocal inadequacies. Mark di Somma, the lyricist, is the principle comic and as audience rapport grew his comic timing and energy flowered. Rod Dunbar’s preoccupation with the piano did not prevent his adding to the fun and in the rare moments he left the keyboard to Mark, his own comic talents were clearly evident. There wasn’t much which escaped their energetic scalpeling: Materialism (Money! — that’s what I want); Capital punishment (It’s AC/DC — nothing’s so easy as dancing in the chair); Religion (“There’s a bad Moon Rising”); Poets (Everyone wants to be a poet — writing about acne and strife); Merivale mothers (dressed for the ball at Merivale Mall), the Gay Movement (They’ve changed their name to “pleasant” — Just be pleasant, happy, and gay!). Old standards such as “How much is the dingo in the window?” and “Rotten Roses” were left with new if somewhat rugged exteriors. For all the lack of polish, “Stiff Glue” has found its audience and delighted it. Their original vitality is worth experiencing!