She’s Terribly Greedy is a surreal exploration into the depths of one woman’s personality and her inability to decide not only her future but her present.
Writer and Director Eliza Smith has tapped into a topic almost everyone can relate to, the identity struggle which comes when making choices about one’s future. Most people can accept they can’t do everything and move on. For Ellenore Stevens, however, it’s different. She can’t make any decision, no matter how simple. She just doesn’t want to compromise what she could want in the future.
She’s Terribly Greedy. Photography by Zal Kanga-Parabia.
Ellenore is seen across multiple manifestations, played by Clea Purkis, Phoebe Eames, Rachel Adams and Donita Cruz who all convey a different version of her in unique scenarios. This is both an intriguing and intelligent choice by Smith as her writing swings us to and from the many lives Ellenore leads or could lead.
As we move through the piece, we see the only similarity between the many Ellenores is this inability to choose or decide anything in life, which results in stagnancy. There are many scenarios where this is portrayed on a small scale or in very specific situations relating to Ellenore.
We also see this on a real-world level when she’s asked about wanting children on several occasions; one which leads into a compelling monologue, performed by Rachel Adams, about how a woman “having it all” only means having both a child and a career. I needn’t elaborate on how true this feels to many people.
She’s Terribly Greedy. Photography by Zal Kanga-Parabia.
Dynamic movement is the one continuous element of the performance, with movement director Leah Robyn playing with levels to contribute to the dream-like state we’re in. Projection and moving mirrors are also used, while clothes are scattered across the stage further contributing to the multiple identities on show. These set and design elements allow for fluidity in the space, at times the space is in chaos while in others it’s calm and neat.
Comedy is a great strength within the show and is used liberally in the beginning before tapering off as we see Ellenore spiral downwards. Each performer demonstrates a skilled ability to match the changing tone of the piece without jarring or becoming exhausted by the physical demands of the show.
By the end of the 50-minutes, I found myself realising that we don’t actually know Ellenore at all and neither does she. The initial concept of an identity crisis is spun on its head, leaving me to question if there was ever any identity at all. She’s Terribly Greedy is a piece that can be interpreted in many ways. Eliza Smith has left it up to us to decide how we want to understand it.
She’s Terribly Greedy is on at The Blue Room Theatre now until Feb 3.