Venue: Carriageworks (Eveleigh NSW), Aug 23 – 26, 2023
Director: Danielle Micich
Cast: Gabriel Comerford, Adriane Daff, Merlynn Tong
Images by Brett Boardman
Theatre review
In the devised performance named idk, two women are seen to be strong and powerful, never short of agency in whatever circumstance they find themselves. Yet, we sense a distinct and persistent lack of safety for their existence, as though sharing a subconscious awareness about a world in which power resides elsewhere. Much as the women appear to be in charge of their destinies, real control proves elusive. The man in the piece may not be presented as the kind who struts around like he owns the joint, but when the genders collide, something happens in between, that gestures to the pervasive imbalance we know to be real.
Directed by Danielle Micich, idk is a beautiful work, never sufficiently engaging in emotional and intellectual terms perhaps, but certainly a feast for the eyes and ears. Set and costumes by Anna Tregloan are thoroughly elegant, with hints of vibrancy reflecting an adventurous spirit that informs the entire production. Damien Cooper’s lights are unremittingly dynamic, keeping us intrigued and engrossed in what the human bodies on display are conjuring next. An unmistakable sensuality is conveyed via illumination, as well as through music and sounds by Angus McGrath, who inspires visceral responses at will, completely delightful with all that he adds to this fascinating production.
Performers Gabriel Comerford, Adriane Daff and Merlynn Tong not only showcase inventive and exquisite use of body and voice in idk, it is a notable soulfulness in their presentation that provides elevation, to something that could have easily left us feeling confounded and empty. Their resolute presence keeps us invested, and therefore receptive to what they have to say, in ways that expose the recurrent inadequacies of words.
We observe in idk that characters of both genders are discontented with the way things are. Of course, we know that the male has the upper hand in so much of how we operate, but he too is filled with frustration. Sitting on top may be better than languishing down below, but in a system where virtually no one is truly happy, it is peculiar that everyone does so much to maintain the status quo. We are terrified of burning the house down, because we have yet to hatch a satisfactory plan for its replacement, or maybe we are more than slightly suspicious, that we will simply erect a facsimile that will inflict the same horrors again.