Venue: Old 505 Theatre (Newtown NSW), Mar 10 – 22, 2020
Playwright: Xavier Coy
Director: Richard Hilliar
Cast: Michael Arvithis, Xavier Coy, Emma Louise, Poppy Lynch, Lex Marinos, Tristan McKinnon, Kate Rutherford, Jack Walton, David Woodland, Sheree Zellner
Images by Becky Matthews
Xavier Coy’s Distorted comprises short episodes, involving ten main characters, all of whom are connected, and all of whom have less than joyful lives. They look like people from any Western city, who have struggles that look ordinary, yet none of which can be easily dealt with. Life is hard, by Coy’s estimation, but what he presents is perversely delightful. There is a veiled humour to the despondent scenarios being enacted, that feels like a bitter irony acknowledging that our complaints can only ever feel haughty when there are roofs over heads, and no shortage of food in bellies.
In Distorted, we observe the all-consuming nature of these personal problems, whilst forming a perspective that reveals these frustrations to be ultimately inconsequential and somewhat narcissistic. Director Richard Hilliar does an excellent job of depicting both the accuracy of these egocentric experiences, and a wider view that it all amounts to little. The show is captivating in every moment, with Hilliar’s knack for drama keeping us mesmerised.
Stage design by Hamish Elliot is gracefully rendered, and effective in facilitating the quick scene changes that happen throughout the duration. Jasmin Borsovsky’s lights too, help us instinctively navigate spacial transformations, as do Martin Gallagher’s sounds that work with our subconscious to make sense of the many abrupt shifts in time. A strong cast performs the piece, with each character believable and realistic. The team tells a cohesive story, remarkable with the even focus they provide so compellingly, to have us invest in every little detail that is being conveyed.
Most of the people in Distorted find the world a difficult place, but they do little to seek to change it. One of them spends considerable time in psychotherapy, where he tries to find ways to fix himself, even though the play gives no evidence of the young man suffering any illness. We have become conditioned to always think that it is the individual who needs improvement, that when things go wrong, we need to fix ourselves, without ever questioning if it is the external environment that requires interrogation. Happiness must come from within, but when we encounter anxiety and exasperation, we must not forget to transcend the self, and identify first, the structures we operate under that are determined to beat us down.