REVIEW: Big Toys

  • Presented by English Theatre, Vienna – 1976.
  • Directed by PETER WYNGARDE.

PETER’s Character: Richie Bosenquet.

If author Patrick White’s biggest seller in the West was the novel ‘Voss’, then ‘Big Toys’ – his first play in more than 12 years, might well have been called ‘Gloss’.

Comic, tragic, cruelly baited and barbed, ‘Big Toys’ was a play for the Seventies, displaying a sophisticated and elegant overlay, but revealing the corruption and confusion that arise in a society unsure of its direction and in ambitious people unsure of themselves. This production not only marked the European unveiling of the play, but the very first presentation of any of the Australian writer’s plays in Austria.

In the first act, when Labour leader Terry Legge tries to escape the world of seduction and manipulation, fashionable Conservatism and interchangeable sex, that White has put on the stage and thrust him into, he calls it “Darling Land”, but he can no more leave it than the audience and take its eyes and ears off it – for Terry is already part of it himself. Or, as critic Axel Kruse observed when ‘Big Toys’ had its premiere in Sydney in September, 1977: “You look at this play the way you look at a beautiful woman, and you hear the conversation as a voice of intimate consciousness that might be your own, although it certainly is not.”

The most glittering of White’s toy people is Mag. Cattier than Tennessee Williams’ sex-starved Maggie in ‘Cat on a Hot Tin Roof’, she might be Mag-the-Cat in a panoramic penthouse overlooking Sydney Harbour. Yet it is she who, early in the encounter, calls Terry a cat – and, in the end, after numerous costume changes by all concerned and Mag’s reference to her own “infinitesimal core of good which hasn’t been smothered by all the drag,” we are no longer certain of anyone’s sex, breed, or appetites. Cats, which see by night, can look alike in White’s light!

Terry Legge entered stage left like Marlon Brando’s Terry Malloy in ‘On The Waterfront’, but as he travels from beer to Scotch, from devout Marxist to plaything of a woman he calls “The Rich Bitch”, and from ‘mateship’ (that compulsive camaraderie of the Australian male) to mellowness in “Darling Land”. In the end, we have any and all three reactions to his heroic choice: We might cheer him; distrust him; even envy him.

Above it all, with his back turned when he had “anything important to discuss” is PETER WYNGARDE in the role of the elegant Richie Bosenquet, Queen’s Counsel, who is described by his wife Mag as someone who has never been a human being, though dressed up as one.

In playwright White’s stage directions, Richie is described as follows: ‘His manner has assurance of a carefully considered kind, which will not prevent him lapsing into an almost frenetic diffidence when he feels threatened by the unforeseen. Everything he does is studied – or perhaps on the other hand, it isn’t: he is simply enigmatic. There is sexuality in his make-up, but he uses it coldly and deliberately.”

In the beginning of ‘Big Toys’, there is a balloon that bursts. It might be a toy or maybe it’s the earth we live on. In the end, there is the threat of class war and nuclear disaster, with uranium described as “the biggest, gaudiest toy that ever escaped from a child’s hand.”

Of course, the dark threat is left lurking discreetly off-stage, but this does not mean that White shirks confrontation. ‘Big Toys ‘ tells us in terrible detail, in wonderful words of fire and ice, that we are in great danger of going down the drain because we have become distraction, falling for shadows rather than substance, of not closing with power games for what they really mean because we prefer to play on the periphery – to be side-tracked by style.”

And persuasion by the distraction of glittering entertainment and literary style was the substance of ‘Big Toys’.


The Hellfire Club: The OFFICIAL PETER WYNGARDE Appreciation Society: https://www.facebook.com/groups/813997125389790/

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