Theatre / “Utopiate” devised and carried out by contributors and administrators of Rebus Theatre, directed by Sammy Moynihan and Ben Drysdale. At Belconnen Arts Centre, closing efficiency November 12. Reviewed by JOE WOODWARD.
THERE isn’t any doubting the integrity, dedication and talent inside Rebus Theatre charged with creating inclusive neighborhood expression that goals to stimulate “social change and therapeutic via theatre”. “Utopiate” is one manifestation of its transformative operation.
One wonders if Rebus truly holds the seeds of the place theatre is main in its relationship with society and tradition.
“Utopiate” has very related themes for a world that’s obsessive about easing painful expertise by evading or shielding one from its essential confrontation. It makes use of satire and playfulness to cut back the empire of painkillers to its absurd playground. Manufacturing parts of highly effective visible digital artwork on a large backdrop and a refined although extremely efficient sound monitor interact the viewers whereas offering the solid with a platform on which to floor their efficiency.
Sam Floyd, as a personality named Thorax Mansion, supplies his finely honed efficiency expertise to string the plot collectively and to offer the work its essential backbone. He engaged the viewers offering a hyperlink via any notion of a fourth wall.
The solid labored as an ensemble utilizing motion and a sculptural sense to form a silhouetted existence of us as people. This was a power within the work and left implanted pictures for the viewers to ponder.
A theatre reviewer wants to contemplate “Utopiate” as a part of a a lot bigger means of cultural crucial and artistic processes. It’s pointless to be figuring out remoted weak spot in appearing and even moments of power. There was little actual on-stage particular person connection or engagement in a conventional appearing sense. As an alternative there was playfulness that appeared to heat the viewers’s creativeness and appreciation.
Maybe that is the key ingredient that might nicely be a part of theatre’s future. Additionally it is not an accident. Rebus has the pondering, the inventive processes and the broader social and cultural understanding to make it occur.
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Ian Meikle, editor