The Mark Twain you didn't know

A delightful, intimate chamber work this is a fascinating insight into the life and times and some of the works that were never meant to be published, never meant to be performed or both by Samuel Langhorne Clemens (the great American writer Mark Twain).

Chris Wallace is terrific in this one man show which has minimal props and only a sparse set. Wallace was born in America, but has been an Australian resident since 1994 and will be familiar to audiences from his appearances in such shows as 'Stingers', 'Blue Heelers', 'Wildred' and many TV ads. Before coming to Australia, Wallace had producing, performing and writing careers in New York and Hollywood. He developed a passion for the study of Mark Twain when he visited the famous author's childhood home in Hannibal, Missouri. Twain died in 1910 yet his humour and insights remain contemporary.

Wallace has a vividly expressive, craggy face. He draws you in and the warmth and passion for his subject in this multi-layered show envelop you. At times he is like everyone's favourite uncle with a twinkle in his eye. He presents an extraordinary galaxy of characters. In Act 1 he wears a white suit with white shoes, red socks, a red waistcoat and a reversible jacket (so for 'The War Prayer’ he is wearing patriotic American red, white and blue). In Act 2 he wears a rumpled shirt and trousers.

The show starts with 'Letters from the Earth ‘Twain's version of the Creation story. Satan writes edgy letters home to his fellow archangels telling them about the place called Earth - one of God's experiments - and the ‘interesting fools’ who inhabit it. There are very witty rewritings of ‘The Fall’ and ‘Noah's Flood’ in particular and some biting comments on organized religion and morals.

In contrast is ‘1601’: A Conversation as it was by the social fireside in the time of the Tudors - quite 'Blackadder' in style it is narrated by Queen Elizabeth the First's cupbearer. It's a bawdy ribald, romp, integrating one version of the story of ‘The Great Fart’, that features cameo appearances from major Elizabethan characters including Shakespeare, Sir Walter Raleigh, Ben Johnson, Francis Bacon and others. Shakespeare's answer to Queen Elizabeth's question is done rather elegantly in ‘great actor RSC Hamlet-ish' in style.

'The War Prayer' was written late in Twain's life and not published until after his death. It is a chilling, spooky ‘ghost' (angel?) story - wonderful creepy lighting used here - that is Twain's urgent cry against the uselessness, horror and futility of war. It puts the notion of war into a universal context, showing the other side of patriotism and the wilful destruction of equally valid human life.

The second half, a one-man mini-musical version of 'The Adventures of Huckleberry Finn’ is a gem in itself and explores Twain's social consciousness and attitudes towards the evils of slavery. Wallace creates a fine galaxy of characters including Huck, his drunken father 'Pap' (a brilliant solo here), the rascally 'The Duke' (his showbiz Barnum like patter in a mixed -up Shakespeare solo is tremendous) and the slave Jim. We also see Huck battling with heavy moral decisions and trying to decide what to do for the best. Thrilling and exciting, we breathlessly want to know what happens next.

Unfortunately the very moving short last section of this great show, the Finale of ‘The Autobiography of Mark Twain’ with a piece dedicated to the death of one of his daughters, had to be abandoned as we were evacuated because of a fire alarm.

THE MARK TWAIN YOU DON'T KNOW

Until Saturday 13 March