Flo is a deceptively simple piece of theatre. The titular Flo opens her flower shop and we engage with suppliers, customers and a bumble bee. What makes it extraordinary, and a stand out at the Wellington Fringe, is the care, grace and mastery with which it has been created and performed. 

On entry the set is a small waiting room to one side; a vase of flowers on the other and a large black covered blob centre stage. The cover is whipped off by Flo to reveal her desk and inner shop display. The white tubs topped with colourful flowers really stand out against in contrast to the black-box Propeller stage – as do all the characters costumes. Each is indicative of the archetype of the character being portrayed: the older mustier supplier; the hang-dog bogan boy; the busy, busy important woman; the courier … etc. And each character is also full masked.

The full mask demands more of the actor as the audience is unable to see the face and more of the usual non-verbal indicators are expressed there – or are they. Each of the performers – Will Harris, Amanda Baker, Gina Morris and Richard Chapman – radiate character through their choice of Trestle masks, costumes and physicality. The Trestle masks are formed into a particular expression which then the actor imbues. Here are four brilliant actors who create a range of characters, which explore and go through a range of emotions and thoughts, each of which are immediately obvious to this highly entertained and engaged audience.

Each encounter Flo has is clear and, like Shakespeare, hits the mythic by the personal. We feel the presence of death by the care with which Flo handles a picture; we see justice in the story of a put down bridesmaid (one of the most hilarious segments); we all giggle when love is a possibility and ‘ahhhh’ when it finally blooms.

Natasha James’ lighting is exquisite. From the opening beauty (I’m not going to give it away) to the lovely reveal of Richard Chapman, to the subtle colours and highlights through the show it never gets in the way; when used, it is used to magical effect. Richard Chapman’s music is haunting, jaunty and playful by turns. Using a loop pedal he is able to create supportive music with a clarinet, guitar and uke. My companion and I thought the opening clarinet must be a recorded track until James’ reveal.

This is an incredible production. A simple tale done with elegance and heart it is the ‘must see’ show of the Festival. 

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