Tupperware! (The Party) a review
TUPPERWARE! (The Party)
On a wet, unpleasant Friday evening I made my way to the well heeled Melbourne suburb of East Hawthorn to attend Tupperware! (The Party). A 1950’s American classic, Tupperware! (The Party) is suburban, affluent, female and white.
I arrived a little before the start time and was handed a glass of ‘bubbly’ upon entering the performance space, so I chatted meaninglessly to the other ladies present whilst the Tupperware Rep set the stage in full view of the audience. This is a device I have seen doom other productions to failure, but in this instance worked effectively. As the shiny coloured plastic drew our attention the conversation sputtered, failed and gave way to silence. We were ready to begin.
Janine, a career Rep of Tupper and other wares, appeared to be a prosperous bogan of the ‘hooker with a heart of gold’ school of address. The casting concerned me at first, the audience were professional women; lawyers, accountants, journalists. How would they take to this woman, who had all the charm of an illegal brothel owner and the originality of a potato chip? But my worries were unfounded. After the initial ‘thanks to the hostess’ and introduction, Janine’s experience (over 30 years she informed us) kicked in. I felt we were in safe hands with her and that very few wallets would leave this production unmoved.
Tupperware! (The Party) plays on our insecurities as women. Through our need for order in a world of utter chaos, our desire for perfection as mothers and wives and working women, it dips deep into our bottomless well of self-loathing and judgement. Its impossibly shiny brochures show endless rows of enviable well ordered cupboards, drawers, fridges and freezers. Phrases such as ‘domestic blindness’ and ‘pantry consultation’ seduce you into the belief that bright colours and moulded plastic can indeed save your domestic soul.
I had wondered briefly, before going out that evening how this classic 1950s work would be brought up to date, and what parallels to modern Australian life could be drawn. That very afternoon Prime Minister, Kevin Rudd, in an attempt to garner votes had announced his PNG deal and Tony Abbott’s hollow cries of “Stop the boats” were still big news. Australia was hurtling toward an election that would be fought on the backs of asylum seekers and refugees. How would Tupperware! handle these themes, where would it place itself in these uncertain times?
But here is the genius of the work. It doesn’t. It doesn’t even pretend to. Tupperware takes modern Australian women firmly by the apron strings and places them back in the 1950’s when a nice house and a happy husband were the zenith of our concerns. This is a world in which it is right that scary black people should be turned away from our shores and sent to live with other savages, whose neighbouring proximity can be blotted out with dishwasher safe storage options and burpable lids. This world is safe, it is sealed, it is microwaveable and freezer-proof.
Yet sitting here amongst the outpouring of joy at the new season’s colour-ways and exclamations that “the people at Tupperware think of everything” I couldn’t help feeling depressed, cheated and confused.
Despite the colour, the styles, the gifts, the fun and laughter of Tupperware Bingo, I realised I had spent an entire evening looking at empty containers. And perhaps this is the real message of Tupperware! (The Party). That, as alluring and seductive as these items are, the stuff of life is to be found in the contents of the vessel, it is not the vessel itself. A concept that our leaders could consider when speaking of “stopping the boats”; that if we, as a nation, could shift our focus from the container to the contents, Australia could leave the 1950’s and be a much better place for it.
Tupperware! (The Party) is playing in a suburb near you. It is well worth a look, if only to remind us how little has changed in 50 years and how far we still have to come.