Venue: PACT Centre for Emerging Artists (Erskineville NSW), Sep 13 – 17, 2016
Playwright: Chelsea Ingram
Director: Herman Pretorius
Cast: Chelsea Ingram, Luke Edward Smith
Image by Isabelle Munhos
Chelsea Ingram’s Keep Calling is about an unusual relationship, and the agony of existence when taboo becomes an integral element to one’s identity. The play presents a valuable opportunity to take a rare look at something deemed objectionable, and even though it stops short of advocating any specific ethical perspective, it nonetheless confronts the way we think of the themes being portrayed. For some, the material might prove controversial, but for others, its depictions can seem coy; it is a delicate balance that Ingram tries to maintain, but an edgier approach would make the show more memorable.
There is an undeniable mystery built into the plot, even though the production struggles to effectively manufacture a sense of intrigue. Its characters are vulnerable, but Keep Calling‘s immersion in their suffering is insufficiently convincing for us to respond with empathy. The style of presentation is wild and loud, allowing us to access the emotional upheavals taking place, but we rarely make contact with an authentic foundation on which the drama should be built upon, and the play leaves us feeling somewhat detached.
We can all understand Stacey and Sam’s desolation even though few of us have experienced their circumstance. Their story is unique, but only a flimsy membrane away from our realities. How we formulate rules for living is often arbitrary, and Keep Calling</em is a reminder of the ambiguity that can exist in what we wish to be incontrovertibly true. Societies have come to accept that love can take many forms, but there are limits to what they can accept. What is considered illicit in a particular time and place, is legitimate in another. It is easy to say "as long as nobody gets hurt," but how we define and detect damage is yet another quandary.