Carla Conway. Canberra Youth Theatre and The Academy of Interactive Entertainment. The National Gallery of Australia. 20 Apr 2013
These days it can be a challenge getting people to leave the realm of the virtual world to spend time in the realities of the physical one. However, the Canberra Youth Theatre have found a way to creatively merge the two and encourage people to experience the live arts, with their extremely innovative two hour ‘multi-reality location-based game’.
Two years in the making and involving collaboration from the live arts, information technology and media disciplines, 35 Degrees 17 South is essentially a real-life interactive video game. The aim is to help players (the audience) explore a range of interconnected social issues by immersing them in a futuristic scenario. It is here that they must make choices that potentially conflict with ethical norms in order to survive in a brave new world.
The premise is that Australia, many years in the past, had opted for nuclear technology as the predominant form of energy supply across the country after a tsunami (caused by global warming) wiped out all the coal stations. This involved the Lucas Heights nuclear research facility in NSW being retrofitted into a proper nuclear reactor for energy consumption.
However, after the Government ignored warnings from scientists about the need to decommission Lucas Heights because of safety concerns, disaster strikes when an earthquake shakes the area and causes a nuclear meltdown. The resulting catastrophe creates mass displacement, and many Australians become refugees, forced to fend for themselves – this is where the game begins.
Waiting outside in the gardens of the National Gallery of Australia (NGA) with a number of families and individuals, a group of these dishevelled refugees suddenly comes tearing through, pleading to be let into the safety of the compound (the NGA Skyspace sculpture) that has been established for survivors. They are told there is no room, and that they will first need to prove themselves by finding an uncontaminated source of water for the inhabitants before being granted entry.
As the head of compound security (Brody Warran) begins to address us, it becomes apparent that we, the audience members, are also refugees and will also need to embark on this initiation quest before we are guaranteed a roof over our heads.
Firing up our hired tablets and smartphones, we discovered that there are many sub-tasks to accomplish in order to find the fresh water. Our electronic devices then send us on a journey throughout the crisp autumn air of the NGA Sculpture Gardens, with instructions about where we must go, whom we must see and what resources and information we must find to gather our required items. All of this is executed using scanner technology, with barcodes scattered throughout the game location.
In the gardens, or the outskirts of the compound, we find a range of shady characters that each has something to assist us on our journey - as well as their own political agenda. However, this is where the moral challenges begin: we are also being tested through these interactions as to whether we would be suitable to live in the compound - by ascertaining our willingness to defend it, contribute to resources and obey authority.
There is also a sub-plot running through the game. The fictitious Australian Energy Resources Organisation (AERO) is attempting to bribe us in order to find and destroy evidence that the Government was responsible for the whole mess.
When we finally do find the precious water and triumphantly return to the compound with chalice in hand, we are asked to give our solemn pledge to the child leader (Daniel Boyd), and must promise to share all we have to help the collective good.
For those who are a little technologically challenged (this reviewer), the live theatre game took a little while to catch on to. There is so much information and stimuli to absorb and trying to navigate your way around was a little baffling. However, for the children and teenagers participating it was smooth sailing. There were also plenty of friendly helpers on the day to assist people through technological and logistical quandaries, which made the whole process much more streamlined.
Engaging with the live performers (Casey Elder, Evie Downing, Gabriela Falzon, Samuel Francis, Jacob Kilner, Jenna Le May-O’Connor, Bethany Stoney, Mia Tuco and Liam Varjavandi), who were like something straight out of Mad Max, was also a challenge. Being so used to the passive observers role of the theatre, it was slightly uncomfortable and surreal being challenged to interact with these characters and immerse yourself in their politics. However, each performer steadfastly committed themselves to the cause, creating an impressively authentic dystopian environment.
The virtual characters, consisting of AERO employee (Hannah Baker) and AERO Head of Data Security (Josh Bell) via pre-recorded video, were also highly convincing, providing an intriguing twist to the tale.
But it’s hats off to the creative and technical staff that have been working together behind the scenes for so long to make this production happen. The combination resulted in an intricate and thought-provoking narrative that audience’s could not only be a part of, but actually feature front and centre in.
There is no doubt it was a complex and ambitious project to undertake, but creator Carla Conway and all those involved in 35 Degrees 17 South should be immensely proud of themselves for succeeding so definitively in their objectives.
Deborah Hawke
When: Closed
Where: National Gallery Sculpture Garden
Bookings: Closed
