Subclass 26A
Fri, 4 Mar 2005, 08:21 pmWalter Plinge2 posts in thread
Subclass 26A
Fri, 4 Mar 2005, 08:21 pmI saw this show just before it finished at fortyfivedownstairs Flinders Lane last weekend. More of a gallery than a theatre really. Then again, this play was more like an action installation than a drama. At least it's a timely reminder that Melbourne IS the cultural capital of Australia, despite the "Gron Pree".
Anyway, back to the play. I think it was all about detention centres and the effect they have on people. Not just those who end up as inmates, not understanding what they have done wrong, not being entitled to legal counsel or visitors, not knowing how long they are to be detained nor what they can do to extricate themselves - but also those who are charged with keeping them there and how the experience tends to flow on and dehumanise not only them but their families, friends and ultimately all of us. Then again, I could be wrong.
The acting was so good, I was totally convinced that they were real people. That is, until they changed into each other. Then again, maybe that was just me.
The light and sound design must have been good because the only changes I noticed was when they flicked the fluoros on and off. Set? Anyone can paint a room out.
The highlight was the sound which consisted of a percussionist (onstage but behind a bar) with a range of drums, xylophones, cymbals, gongs, bells, bin lids etc (no computer generated rubbish) which assisted the narrative much as the old honkey-tonks used to do the silent movies. I have seen this done before and it works well if used wisely, as it was here.
I recommend this play to any drama student groups or avante garde theatre companies who want to tackle something difficult but very authentic and relevant. To find out more about it, try www.fitzroylearningnetwork.org.au or me at bullsh@iinet.net.au
Anyway, back to the play. I think it was all about detention centres and the effect they have on people. Not just those who end up as inmates, not understanding what they have done wrong, not being entitled to legal counsel or visitors, not knowing how long they are to be detained nor what they can do to extricate themselves - but also those who are charged with keeping them there and how the experience tends to flow on and dehumanise not only them but their families, friends and ultimately all of us. Then again, I could be wrong.
The acting was so good, I was totally convinced that they were real people. That is, until they changed into each other. Then again, maybe that was just me.
The light and sound design must have been good because the only changes I noticed was when they flicked the fluoros on and off. Set? Anyone can paint a room out.
The highlight was the sound which consisted of a percussionist (onstage but behind a bar) with a range of drums, xylophones, cymbals, gongs, bells, bin lids etc (no computer generated rubbish) which assisted the narrative much as the old honkey-tonks used to do the silent movies. I have seen this done before and it works well if used wisely, as it was here.
I recommend this play to any drama student groups or avante garde theatre companies who want to tackle something difficult but very authentic and relevant. To find out more about it, try www.fitzroylearningnetwork.org.au or me at bullsh@iinet.net.au