A drawn-out story that peaks at the right point.
Cadaver Synod, written by Ruby Blinkhorn, is the first show of bAKEHOUSE Theatre Co‘s New Writers, New Works season. Billed as “bold, juicy, and blasphemous”, it succeeds in showcasing Blinkhorn’s capacity to craft interesting characters and put them in a disintegrating world. Though its climax is strong, some excessive dialogue and storytelling mean the production runs too long.
The New Writers, New Works season showcases the works of NIDA’s MFA Dramatic Writing graduates and is supported by NIDA and KXT. Cadaver Synod tackles the Catholic Church scandal of the same name, where the rotting corpse of Pope Formosus was exhumed and put on trial for crimes committed during his life. In Blinkhorn’s script, this trial plays out adjacent to a salacious relationship between two cardinals, a power struggle between the Vatican and Italian Kingdom, and a living pope struggling to maintain order over his clergy. There’s a lot going on.
Blinkhorn’s take on the scandal, and the characters involved in it, is laudable. Her deep consideration of church lore and its corruption lets her create a world that is realistic and troubling. The characters in her story are well devised, from the manipulative John (Luke Fewster) to the naive Gabriel (Leon Walshe) and the barely-holding-on pope Stephen (Nat Jobe). The arcs of those three characters in particular are strongly executed, and offer real insight into the power struggles and ethical issues in the Vatican.
The cast give solid performances. Fewster plays up John’s deceptive and cunning nature and has notable chemistry with the rest of the cast. Walshe quickly establishes himself as an audience favourite, being gifted most of the script’s early comic dialogue, but finely balances this with the later drama involving his character. Jobe initially struggles to find this balance – the result of writing which forces him to snap between being light-hearted, morally challenged, wise, and fraught – but ends the play well. The remaining cast support these three commendably.
Thoughtful direction from Mathew Lee brings Blinkhorn’s world alive; his understanding of the show’s beats lets important moments ruminate. A notable set (Alice Vance) contains fun surprises which the performers utilise well. Yet, for all these strengths, the production is longer than it should be. Blinkhorn’s script is too dialogue heavy and could replace some displays of its thematic content with more subtle, implicit indicators. Some key plot points could also be reached sooner. Doing so would help tighten the play, remove lulls, and keep the suspense and tension more consistent.
Nonetheless, Cadaver Synod is a good debut work. With interesting subject matter, sound acting and considered direction, it is a proficient opener for the New Writers, New Works season.
