Laryngectomy - parables and homilies on the Freedom of Speech

‘Laryngectomy – parables and homilies on the Freedom of speech’ was conceptualised by Joe Lui, written by Joe and Demelza Rogers and developed by the team of the award-winning Renegades Ensemble for Renegade Productions. It is being performed as a World First in The Blue Room Studio Theatre, 53 James Street, Northbridge until Saturday 18^th June. These 90-minute shows start at 8.30 pm.
 
 
        The lights rise to show an all white set, with several fascinating exhibits around the room. We are invited to examine the displays, and then stand or take a seat on the floor for the performance.
 
        The compere for the evening (Paul Grabovac) explains how in 1789 in France, the peasants revolted and the cry of ‘Liberty, Equality, Fraternity!’ was heard. However, in spite of freedom of speech being gained by the proletariat - as a God given right that should be protected at all costs - our freedoms are constantly being eroded. Now, more than 222 years later, what we say and do in a democratic country like Australia is still very limited, and at times unnecessarily highly censored. As the compere talks, Marilyn Munroe (Demelza Rogers) gives a brief ‘purr’ reminding us that even half a century after her death, the big cover-up job surrounding the circumstances persists.
 
        After a smooth talking announcer (Jessica Allen) whispers reassurances into a microphone, the performers demonstrate how a Nazi-like minder (J-Ro – Jessica Rawnsley), with a baby’s dummy pinned on her uniform to falsely reassure the poor unsuspecting citizens, really runs the country.

        In a horrific scene – similar to something from ‘The Night Porter’ or ‘The Magdalene Sisters’ - we see a poor civilian girl grabbed and cleansed, for her own good! This cleansing process continues throughout the play by employing various metaphors.
 
         We are asked, ‘if the Government of the day decides that we are so weak and ignorant that we require having carers, who should run the censorship?’ A perverted judge who has committed perjury or an adulterating politician? Or are we better with no one?
 
 
The stage wings and backcloth are polythene sheets; nothing should be hidden from the audience in this exposé of Australian life today. In one of the dozens of examples given, we learn how a simple drawing led to the death of a hundred members of the general public. Even this week, there is now a $40 fine for swearing in a Victorian public street.
 
No topic is sacrosanct, as all the foolish decisions of the past are courageously tackled head-on. This brilliantly researched production is strongly performed. No punches are pulled and parts are ‘in your face’, but the success is in the fact that hours later I sit here thinking how slowly our freedom has being eroded – ‘for our good’.
 
I am sure this production – like ‘The York Crucifixion’ - will cause a few ructions, but a wakeup call like this creation is long overdue. Is it offensive? Or could it be us feeling annoyed at losing some of our rights?
 
The Renegade group set a very high bar for itself several years ago, and have always skilfully developed the scripts and put a great deal of thought into the production of their plays. With the result my expectations were high, yet once again director Joe Lui has taken us on a brain stirring adventure.

The set and lighting is a lot simpler than the usual Renegade productions. There is wonderful quiet heartbeat soundtrack, blended with deep cello-like music. The cast’s movements had at times the delicacy of ballet dancers, which could change rapidly to the violence of thugs.

Try and catch this intelligent and brave production, it will shock, make you think and possibly fear for the future of our freedom.