Away
The essential qualities of Away – it’s lyricism, the simplicity of its staging…mean that it can very easily be realised on a small scale with minimum production attributes. ... In addition, Michael Gow’s Away uses links to Shakespearean plays, and conventions of Shakespearean staging from A Midsummer Night’s Dream and The Tempest. Staging is an integral part of Away, it improves the viewer’s understanding of the play by accentuating central themes and visually illustrated the motivations of the characters. Away is an ironic portrayal of Australian society in 1967. ... Away delves into the lives of three families from different socio-economic backgrounds, who are forced to confront their fears and resolve their inner conflicts over the summer holiday. ... Going ‘away’ is an agent for change. These issues are accentuated throughout Away, by the deliberate use of staging. ... This is the same music from A Midsummer Night’s Dream, and adds a Shakespearean allusion to Away. ... Mendelssohn’s Dream is a strong, orchestral piece that is lively and dramatic, it sets the magical tone to Away. ... Stage directions that dictate the actions of characters also work to embody messages in the play Away. ... “I had to wipe away tears…” (Act 1, Sc 3). ... Throughout Act 2, Coral expresses her need to “get away”, the beach allows Coral the freedom from the social constraints which inhibited her earlier in the play. ... Away has many themes and ideas that need to be made apparent to the viewer. ... The staging in Away enables the viewer to gain a clearer insight into Tom’s interior feeling about his illness, Gwen’s pursuit of inner peace, Coral’s struggle to gain acceptance of death and the processes of reconciliation that occur throughout.