Sitting at just 45 minutes, The Memory Shelf has all the potential for a great, short fringe piece whose message goes a little deeper than for just pure entertainment. Written and performed by duo Amelia Reynolds and Saraid Cameron with direction by Renee Lyons, it focuses on the happenings in a tearoom in small-town Arohanui that is famous for its delicious lamingtons.

The first image is of the well-known Edmond’s Baking Power (in giant tin can form) being lowered from the ceiling onto the stage. Such iconic cultural kiwi references colour some of the characters and delights and entertains. Although the play starts with a bang with excitement from Reynold’s character Jess, the pace of the play throughout remains somewhat slow, despite the change of characters every few scenes. [More]

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Remember those tins that Edmond’s Baking Powder used to come in – you know, with the trademark slogan ‘sure to rise’ and the yellow and orange sunbeam effect? The Memory Shelf opens with the intriguing sight of a giant can (think in terms of enough Baking Powder to produce a fluffy sponge for every person in New Zealand) being lowered by rope onto the stage. We find out a bit later what that’s about. Meanwhile, the can comes in handy as one of the few props used in this memorable story. 

Scene: Early hours of the morning, Arohanui. Outside the tearooms owned by sisters Toots and Mel; the birthplace of the lamington and where Jess works. The tiny southern NZ town has been Jess’s life – she’s hardly been out of it, but she once “heard great things about Gore!”

Enter another young women, hitching through and just dropped off between rides. TW (Travelling Woman for now because if she was given a name I didn’t catch it), in contrast to Jess, is world-wise. She’s travelled widely – to Belize, Nicaragua, Berlin, Paris, Pondicherry, Chicago and Waihi. Even more important, she is experienced and world-wise in other ways. Little wonder that Jess regards her with some awe.  

The casting of the two actors – or perhaps more accurately, their writing of the script around their many roles – is inspired. The two are completely believable: Saraid Cameron as TW is masterful in her actions and timing; Amelia Reynolds’ facial expressions tell us more than words could as Jess tries to deal with “the shitbag thing that happened to her”.  

Skillful direction by Renee Lyons, brings out flawless performances from both.

The two women play several parts in order to reveal more about the place and Jess’s life – particularly the fact that Uncle Brendon’s imminent return from Australia after 15 years away is great news to everyone except Jess. In a few spare lines, we learn her story, and her need for him to know that it wasn’t okay. There’s a serious issue presented here, made even more powerful by the lack of over-dramatic scenes and heavy denunciation. The subtlety in the way it is revealed is a strength.  

The running time, 40 minutes, is perfect. More exposition would have taken away from this well-crafted work. It deserves to be seen by many more people than were present on opening night.  

Oh, and that can of baking powder – it could end up anywhere. Maybe even Gore.

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