Francis Greenslade’s mad mind | The Platypus
We sat down with the writer and director of The Platypus.
Francis Greenslade has been a well-known face on Australian screens for decades, known for his appearances on Shaun Micallef’s Mad As Hell and for playing Brian Gross on the TV series, Winners and Losers. He is also a prolific stage actor, with credits across the breadth of theatre. The Platypus is Francis’s first original work and has burst onto the scene as an instant hit. From Shakespeare to standup, this ambitious genre-bending show features over 15 genres. We asked Francis about the show and his creative process.
How would you summarise the show? Give us an elevator pitch!
It’s a two-hander. Richard and Jessica’s relationship is in trouble. We see the break-up, the aftermath, the attempt to put the pieces back together. The story is told via a mix of naturalism and wildly differing theatrical styles — Shakespeare, Oscar Wilde, Music Theatre, Stand-up, etc.
It’s inspired by the notion we put on a mask when we talk to someone outside our home, different each time. So in The Platypus, when one of the characters goes out and meets another character (played each time by the other actor), that mask is represented by a different theatrical genre. And then when they come back home, it’s boring old naturalism again. No wonder people outside the relationship often seem more exciting.
What is your creative process like?
It was born out of irritation. At what a theatre worker had said to me about what is and isn’t relevant. The desire to prove them wrong. The concept was in my head for a long time before I put it all to paper. I would take it out, tinker with it for a bit, and then put it away. And then I was touring a play to Canberra. I had three days off between shows. It was freezing cold, and I was trying to save money. I just sat in my hotel room and finished the damn thing. I wanted to write something that was directly relevant to the audience’s lives. So they can sit there and see themselves on stage.
I started to write a play about a relationship – most people have had a relationship of some sort, and most people have experienced the end of that relationship. However, it became very black, very quickly because there’s nothing interesting about happiness, so I found myself deep in break-up terrain, and as I didn’t want to subject the audience to 90 minutes of Strindbergian bleakness, I found a way to tell the story that is surprising and funny and moving and constantly interesting.
Who is your perfect audience member for The Platypus?
I think there are two groups of people. First, those who do go to the theatre regularly, and have seen a bit of stuff and who will recognise the genres as they appear and enjoy the theatre game of it all.
But secondly, and principally, the play is written for the couple who have had to deal with feeding the kids, waiting for the babysitter, and trying to find a park, and who may even be slightly testy with each other as they arrive at the theatre. And who sits down in the dark and watches a couple going through exactly the sort of things that they go through.
I overheard an audience member during the Melbourne season say, “ Well, I’m going to go home and be nice to my wife”. And I thought, that’s pretty good as far as having an effect on your audience goes.
Any final thoughts on what audiences can expect?
The whole show is a bit of a Christmas stocking — you never know what you’re going to get — some chocolate, a slinky, some socks with your grandma’s face on them. It’s a constant surprise.
Those coming solely because they have a keen interest in monotremes will not be completely disappointed.