A Response: Hungry Ghosts | Melbourne Theatre Company

May 29, 2018 § Leave a comment

The Void and the Vanishing Playwright

Part One: Conditions

Hungry Ghosts opens a space in-between, a theatrical in-between, a pocket of time in which it is possible to contemplate and complicate identity. When it ends, the world comes crashing back in, the finality of spectacle. But in this pocket the playwright vanishes, and in their place a multitude of possibilities present themselves. In this space, we find ourselves. We feel the anguish, confusion and loneliness of a fractured identity: the play’s generic truth. Perhaps this pocket is a Rorschach test; the space for reflection is also a reflection of us. If so, then the specificity of this truth is one that contemporary Australians should feel acutely. For what we find looking into the void may be uncomfortable at best.

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Consider Voting “Yes”

August 19, 2017 § Leave a comment

On Marriage

The institution of marriage is archaic and not only perpetuates the notion of people as property but that the church is somehow relevant to the law and Government. Moreover, it enslaves individuals in a family unit that is more easily controlled by the State.

Plenty to discuss there, happy to do so. But fundamental to all of those propositions is that homosexuals are people. Therefore, if heterosexuals are allowed to trade each other like tazos – and wilfully submit themselves to societal norms – then homosexuals should be too.

While I would like to declare myself focused on the Big Issues and standing up to the State, I am, devastatingly, in love. After announcing an engagement to a same sex partner (cleverly captioned “Can’t get married? Can’t stop us getting engaged”) I find myself unable to answer the question, “So, when’s the big day?!” « Read the rest of this entry »

Human Error: Writer’s Notes

June 29, 2017 § Leave a comment

An edited version of these notes appears in the Human Error program, there are spoilers:

First of all, thank you for coming. Part of the impetus for the play was to start a conversation and explore a topic that doesn’t often make it onto our stages; so, if nothing else, I hope the production gets you talking, even if it’s just to debate what is possible, impossible or simply unimaginable.

Human Error is a peculiar little play. Peculiar because on one hand it’s really very straightforward and quite small—it’s three scenes, a prologue, and an epilogue—and on the other because it’s somewhat confusing and about capital ‘t’ Topics; like, the nature of love, the future, and the end of the world. Some of it is mundane and everyday, some of it is silly and fantastical, some of it is scary and uncanny — I’ll let you be the judge of what’s what and which parts are more successful than others. Hopefully you all love and hate different parts of it. What I love about science fiction though, is that at its heart there’s always a leap of faith, a what if. « Read the rest of this entry »

An Essay on Failure

January 17, 2017 § Leave a comment

When I was much younger I read the Wikipedia page for the Ingmar Bergman film Persona. I identified with it instantly and knew it was going to be one of my favourite films. I had a moment of inspiration and I wrote an idea down in my journal of ideas. It was a film (or play, if that was even possible!) about a male director remaking Persona with two women, one older and one younger, without them knowing — as a comment on misogyny, obviously. As with many, many ideas that were written in my journal, I promptly forgot about it. Nothing from my journal of ideas was turned into an artistic object beyond the perfect product in my mind. I always assumed that one day I would be a famous playwright. But I never factored in the actual writing, working, rewriting, reworking and solitude of it all. I lost the journal. Time passed. « Read the rest of this entry »

A Response: Blessed | Attic Erratic, Poppy Seed Festival & Malthouse

November 16, 2016 § Leave a comment

The walls are torn, they’re a grimy green and at their feet lie garbage bags filled with God knows what. There’s one window, too high to see out of, which lets in a stream of sunlight that throws the gloomy darkness into relief. Then there are the fluorescent lights of the interior. They’re harsh and unforgiving, particularly on those dank green walls. So much light, yet so much darkness.

Two people take their place within this world as we watch on. One is a slumped, defeated man called Grey (Matt Hickey) and the other is a self-assured but hardened woman named Maggie (Olivia Monticciolo). It’s his place. Why is she here? They’re old lovers and it’s been ten years since they’ve seen each other. Recently she woke up dreaming about him. She’s been getting sick, vomiting, and felt compelled to track him down. She called his mother, who wasn’t even sure he was still alive. He is. He’s here. She’s found him. But he’s changed. No longer the dorky, gawky fifteen-year-old she met and fell in love with, he’s sullen and sunken, living in squalor. She’s changed too; no longer the doubting, unwounded girl she once was, she’s now prickly, rough, as though she’s ‘seen things’. Their past plays out through a series of flashbacks. How their relationship began—him and his mates calling out numbers to label women on a scale of 0–10—how it unfolded and finally, why he left.

(Spoliers from here) Grey hears voices. He always has. He believes Maggie is the mother of God. And that he is the angel Gabriel. He ran away to protect her. By keeping her ignorant of this information and sacrificing his own life—he now lives in hiding from the world and God—he can ensure that she lives her life as ‘normally’ as possible. Now he informs her, she is pregnant with a second coming. By the finale, Grey has embodied his true form, wingspan spread across the flat and Maggie is convinced that her child will be exactly what this cruel and rotten world needs. The play ends with a tableau of an angel, a mother on a bed, and a blinding light. « Read the rest of this entry »

A Response: Anti-Hamlet | The New Working Group & Theatre Works

November 8, 2016 § Leave a comment

A response in four parts.

Part one — Jean Genet

Born in 1910 Paris, Jean Genet was said to be a pious and docile child; until, at the age of ten, he was accused of stealing. And being so described, a thief, he was resolved to become a thief. This anecdote, as described by Martin Esslin in his study of theatre of the absurd, comes from Jean-Paul Sartre, an existential philosopher of the time, who wrote on Genet, as well as the nature of freedom and choice.

Esslin tells us that after this incident Genet became “an itinerant delinquent.” He travelled. He spent time in prison. He wrote poetry and plays. He wrote about and engaged in homosexual acts. One of his plays, The Maids, tells the story of two maids (who would have thought?), sisters, who serve the same mistress. They have an intense love and hatred for her, a desire to become and destroy her; they take it in turns dressing up in her clothes and becoming her, one maid becomes the other to complete the game. While mistress is out they perform a ritual that moves from adulation to revolt. Of course, the games always end before the point of no return. On this occasion, however, the two maids come to realise they are to be found out for their part in putting the mistress’ husband in gaol. Their only solution is to commit to the role-play and commit suicide as the mistress; one of them assumes the identity of the mistress, the other becomes her sister, and serves her the poisoned tea they were unable to give to their real mistress earlier. Illusory choice, unfixed identity and queer politics play out in a fabulous, absurd spectacle.

Over a hundred year’s since Genet’s birth, Cate Blanchett, Isabelle Huppert and Elizabeth Debiki took to off-Boradway stages at the Lincoln Centre Festival performing The Maids. The Sydney Theatre Company production was met with mixed reviews, certainly, but no one questioned the talent, force and grandeur of the play. The play’s use of theatre and meta-theatre reflects to the audience a society of contradiction and ever-changing facade. It questions choice itself and asks can we ever be truly free?

Meanwhile, in 2016 Melbourne Australia, Anti-Hamlet has taken to the stage.


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A Response: Ground Control & Angry Sexx | Rachel Perks at Next Wave & The Melbourne Fringe Festival

May 11, 2016 § Leave a comment

In order to escape the cycle of oppression that often seems inherent to society, feminist theory sometimes opts for post-humanism as a means of exploring its concepts. While there are a number of modern day examples—like insulin packs, IVF, birth control, glasses, smart phones, for example—of people using science to overcome human limitations, the true home of exploring people’s potential has always been science fiction. The allegorical, experimental, and often very entertaining nature of these stories enables audiences to see past the veneer of their lives and discuss topics of any nature. One case in point I’ve always enjoyed is American fans’ ability to talk about abortion in the context of Star Trek, when their own belief-systems stymied that debate in real life. The other is the inimitable Mad Max: Fury Road’s Imperator Furiosa, whose mechanical arm renders her beyond human.

The setback is that science fiction is often not considered “high art”. It’s labeled as somehow pedestrian, fanciful and commercial; or any combination thereof that belittles the content and the creator. Sometimes the last laugh is on the naysayers though, as, particularly in the books and television industry, these texts can do quite well financially — science fiction theatre texts are not as lucky. There’s already considerable stigma attached to genre theatre (and even comedy), as though if it’s not serious and seriously dealing with the serious issues then it’s not worthwhile. Musicals sometimes cop the brunt of that distaste but, again, they can do very well financially. « Read the rest of this entry »

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