The Border Project, producers of this abstract piece of theatre, are a group of artists committed to exploring the future language of live performance. It is written in the program notes that they “are deeply committed to reconnecting with an audience of our generation”, that they feel is “disconnected from traditional theatre”, and that they have “an ongoing investigation into using popular forms as a device to take audiences into unfamiliar, unique and experimental territory”. Well if this is the brief, the ‘The Border Project’ has certainly achieved it in the production of ‘Disappearance’.The title speaks for itself. The show is concerned with our great fascination with disappearance in Australian culture; ‘Picnic at Hanging Rock’, the Harold Holt disappearance, the Lindy Chamberlain case, and recent films such as ‘Wolf Creek’ and ‘Open Water’. It opens with the audience confronted by a large black curtain and a solitary chair with which performer Alirio Zavarce begins to tell us of his fascination with the idea of losing his own identity, disappearing, until his climax where he actually succeeds. It then delves into familiar territory as the large black curtain is drawn revealing a scene from ‘Picnic at Hanging Rock’ and a large geo-dome which almost reaches the top of the performance space. Rory Walker, dressed as ‘headmistress’, is flanked by four school girls played by Katherine Fyffe, Jude Henshall, Ksenja Logos and Astrid Pill. A short reincarnation of the film takes place on stage until the girls have scaled the geo-dome, and disappear from the auditorium. The third and final part of the show is an abstract emotional exploration of the themes of disappearing, an invigorating soundscape is created by Andrew Russ, which is at times reminiscent of being in ‘Nightmare on Elm Street’ – but which is effective in maintaining the audience’s attention – when the lack of story line has lost us for good. There are superb performances from all the players including 10 year old Melissa Pullinger, but the piece must be viewed for what it is, and emotional exploration into the psyche, it delves into the fascination of ‘Disappearance’ and doesn’t give any answers. The show has been a collaboration and “gestation” of ideas and workshops since 2003. Maybe it’s not complete? I believe it could be refined further. ‘Disappearance’, a thought provoking presentation.
Published for the Independent Weekly
Paul Rodda
There is something so personal about Cabaret, the experience of feeling as though the performers are putting on a show just for you! Director Frank Ford has brought back his critically acclaimed production of ‘Secret Love’ starring Catherine Campbell & Craig Behenna. Based on ‘The Alibi’ by Angela McKay it tells the story of housewife ‘Kathy’ whose entertainer husband ‘Ronnie’ dies in a tragic fall. ‘Ronnie’ continues to haunt ‘Kathy’ throughout the show as we eventually discover the truth of ‘Ronnie’s’ death. Both players give an outstanding performance, which is exceptionally difficult given their proximity to the audience. Cabaret, although much smaller in production values, often requires greater skill from the performers, like watching a film, each emotion, action and reaction is in close up. La Boheme is a perfect little cabaret space, suitable for no more than 100 patrons; the venue is convivial and intimate. Ford has created an enjoyable night of cabaret in this production and the performers deliver it with sophistication and outstanding ability.
