‘Benjamin Franklin’ (Press, 15 May 1984)

On 14 May 1984, the play “The Elocution of Benjamin Franklin,” directed by David Charteris and performed by Garry Beveridge, was showcased at the State Trinity Theatre as part of Encore Productions. The play, originally premiering in 1976 at the Nimrod Theatre, received considerable acclaim during its initial run, which led to performances in London and the United States. However, the current production has faced mixed reviews, particularly following a controversial close in Nelson, where its themes of transvestism and the life of an elocution teacher sparked significant discussion. The plot revolves around Robert O’Brien, a transvestite elocution and drama teacher, whose life becomes increasingly complicated due to his secret identity and the pressures of his profession. Despite being committed to his role, Beveridge's performance has been critiqued for lacking vocal range and conviction. The early segments of the play focus on O’Brien’s struggles with his identity and his attempts to coach his less-educated students. Complications arise when a relationship develops with a young pupil, ultimately culminating in a police raid during a transvestite party, leading to O’Brien's commitment to a mental institution. While the production has potential for sensitivity and emotional depth, it is hampered by a lengthy runtime and a lack of warmth in some scenes, particularly the final act set in a mental asylum. The narrative grapples with themes of identity and mental health but can become bogged down by technical issues such as frequent costume changes, which disrupt the flow of the performance. However, there are redeeming qualities in the portrayal of O’Brien’s situation, particularly in the last quarter of the play, where the character's struggles with reality and depression are effectively communicated, showcasing Beveridge's acting potential. Further, moments of humour are present, though they often feel overshadowed by the play's heavier themes and extended pacing. Overall, “The Elocution of Benjamin Franklin” invites audiences to reflect on complex social issues through its character-driven narrative, yet it seems to falter in connecting its themes with the audience’s emotional journey. The mixed reception suggests that while the source material has merit, its execution in this particular production has room for improvement. As the play approaches a significant milestone in its run, there may be concern that its potential may remain unfulfilled if these issues are not addressed.

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