Dust by Zac Gillam

Dust by Zac Gillam- at the Blue Room Wed-Sat this week.


Being familiar with Zac Gillams work from the 2002 comedy “The Phantum” I was warned that his newest theatrical offering “Dust” was something quite different.

Sure, Zac leaves the spoof genre for a futuristic family drama in which there are no singalongs or dance routines, but his characteristic wit and talent for social commentary carry this dystopic forecast of AustraliaÂ’s future.

From the plays outset the audience comes face to face with a world where water shortage is extreme, gas masks an essential item and society is highly monitored, from food consumption to reproductive practices.

While there are some inconsistencies in ZacÂ’s imagined future, the actors commit themselves totally to the obstacles this world provides; the leaking air vents, the drug culture and other consequences of societies disintegration.

What makes this production impressive is its comprehensive use of design and media. The set is solid, complete with vid-screen and working extractor fan (although the inclusion of a screen door in a world covered by dust was somewhat perplexing). The Blue RoomÂ’s intimate main stage is used effectively in creating the settings required by the script; from doctors office to brothel to drug den to school room.

Another innovative inclusion is the plays assortment of voiceovers, which punctuate the intense action with more mundane aspects of life in 2070 and give some indication of worlds prior destruction. Peter Holland and Steven Lee are (not surprisingly) fantastic news readers and Tilly OzdolayÂ’s Gary Cruise is 1080 6ix of the future!

Ashleigh Greig as usual delivers a high standard of work with his soundscape, which, coupled with Ichina SasamoriÂ’s emotive lighting design, adds sensitivity to some of the plays more poignant moments.

This is an engaging piece of theatre that responds effectively to the worldÂ’s current political climate. It also presents relationships that are not only believable in a futuristic Sydney setting; they could just as easily exist in the familiar surroundings of Perth 2004.

Disclaimer: Yes, I am closley associated with a number of people in this production, however I suspect that serves to make me more critical of their work.