Moving Target

Moving Target By Marius von Mayenburg Translated by Maja Zade Directed by Benedict Andrews Moving Target explores adult neuroses, the comfort of childish games, and the growth of anxiety using six actors, a penchant for hide and seek, and a white door less cell of a set. The actors are on stage as the audience slowly wanders in over twenty minutes or so, variously amusing themselves as one might in a waiting room – there are no exits and no reception, but Sartre’s influence is quickly evident. Talking around an ominous happening, the characters know each other, forming a loose family unit. They can’t seem to really connect or respond to each other – each seems preoccupied with his or her own thoughts. As the program says, it’s not exactly clear why these people are here, conversation is circular, pointless and frustrating at times, with flashes of foreboding and fear. Who are the characters? Where are they? Are they six different people or are they all within one person’s head? Does it matter? They obsessively play hide and seek on a bare stage with not many options. The absurdity of the game and the (imaginative!) hiding places increases as the pace mounts throughout the show. At moments laugh out loud funny, at times frustrating, the game of hide and seek is a key element right through. The degeneration of adults when confined, the comfort of childish games and songs, the joy of freedom from decision making (“what if we did nothing?”) all lend the hiding and seeking a Kafka-esque tone. Moving Target is a collaboration between Marius von Mayenburg and Director Benedict Andrews, a creative partnership which started with Fireface at the 2001 Sydney Festival. This is the first time von Mayenburg and Andrews have worked together using Australian actors, choosing young recognisable actors such as Hamish Michael and Alison Bell. Michael stands out in a strong, whippet like performance, core to the anxiety created onstage. This show is a must see for any actor who wants to see a beautifully indulged, experimental exploration of the early stages of character development. I imagine the process of development was incredibly rich for all involved. It was great to see a young Australian director with such a talent with actors. For this reviewer, the growing anxiety, the apocalyptic techno screech sound effects and the claustrophobia of the scene resulted in a headache of ibuprofen proportions but this may have also been a desired effect. The performance went 30 minutes longer that advertised, which worked against its potential. The final scene brings pathos and an element of resolution to the overall experience of the performance, but leaves the audience suitably disturbed. Odeon Theatre Adelaide Bank Festival of the Arts For full article, read here ---> http://tinyurl.com/yvtf56