It would be natural to assume, that as a theatre critic, I would relate to a story of a failed artist.
Jarred Keane plays Jeremy, an actor who’s made a pact with himself that he’ll quit if he hasn’t “made it” by 35.
Trouble is, 35 is hurtling towards Jeremy with the velocity of a dinosaur-ending rock.
Written and directed by Keane, this piece asks questions every performer should ask themselves:
Am I doing this for fame?
If so, WHY?
And how, EXACTLY, do I define success?
And is success really a HELPFUL concept?
Let me lay my cards on the table: I think the pursuit of fame is disturbing, at best symptomatic of a deep insecurity or at worst indicative of a myopic self-obsession. Similarly, I think success is a sloppy, problematic concept. Doing something successfully is a secondary virtue. The crucial issue is what you’re trying to do, not how well you do it. Surely, it’s better to fail at something worthwhile than succeed at something worthless. For example: Who’d want to be remembered for producing a piece of art that most effectively keeps the world small and cold? Alternatively, if being a success as an actor only means being able to earn a living wage from the craft, the concept loses its magic aura, and becomes akin to the success or failure you might have as, say, an Uber Eats delivery driver.)
Jeremy’s pact implies he isn’t really interested in art. (Stanislavsky said you should “love the art in yourself, not yourself in the art”.)
But as his deadline gets closer, Jeremy’s beginning to realise his simple ultimatum might just be that – too simple.
One possible catalyst for his change might be that a young filmmaker is shooting a documentary – with Jeremy as the subject. I don’t know why. It does allow the production to be a hybrid, with most scenes being played live but with sections of the documentary shown on a screen.
There are problems with pace. Everything would benefit from being faster, from the changeovers between scenes to the delivery of many of the lines. Some of the cast would also gain from a greater focus on vocal projection.
Jade Nicholson-Lamb as Nikki, Jeremy’s ex, has a wonderful stage presence, effectively portraying a woman who’s definitely moved on from a past relationship but refuses to dismiss it as merely a step in some upward progression, something to be kicked away and forgotten when finished.
Richard Cotter is very amusing, presenting a subtly satirical portrait of the experienced actor who’s worked with everyone – and makes sure you know it.
Lisa Hanssens plays a famous, successful filmmaker, more interested in art than fame and success. Hanssens has a gentle easy-going gravitas that makes for a magnetic performance.
I Worked with Heath Ledger Once playfully pokes at some unhealthy values that permeate the artistic world, and with some further tightening, it could prove the revitalising detox we need.
Paul Gilchrist
I Worked with Heath Ledger Once… by Jarred Keane
At 107 Projects as part of the Sydney Fringe
until 28 September
sydneyfringe.com/events/i-worked-with-heath-ledger-once/
Image by Matej Hakl
Theatre Red 
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