The Un-Rest Cure. Written by Ben Brooker. The Tuxedo Cat – Cusack Theatre. 13 Feb 2016
Adelaide local and emerging playwright Ben Brooker has written three short plays that propose a broken future; one where our obsessions and indulgences have spiralled out of control and now determine our way of life.
They are set 15 minutes into the future. That is, 15 minutes into an imagined alternative reality where the bastardisation of technology, democracy, and human relationships has altered our existence.
Each play is a vignette, lifted from a broader theme and thrust upon us. Tension, inherited from the imagined future circumstances, is fuelled by our lack of context and inevitable confusion. It is absurdism – or is one just absurdist in exploration of its meaning?
It is tough going and hard work to watch. One listens intently for little hints and clues that might unlock the ‘how’ and the ‘why’. When they come, they are rewarding. But there are few ‘Ah-ha’ moments there in the theatre; one is required to do more research to understand what it is all about.
The Cusack theatre of the Tuxedo Cat is a hot-box on arrival. Fans have been dutifully laid out for patrons to cool themselves throughout. When the lights come up we find Patrick Klavins, representative to the government - and perhaps all that is left of it - agitated and fidgeting. Idealistic young Rachel Burke has just arrived. A sense of excitement, yet trepidation is on her. She has been looking for this place for a long time. She is heavily prejudiced. One senses she has navigated some form of post-apocalyptic world to get here. Brooker describes it as a “city overrun by corporations”. But Klavins does not have what she is looking for. He does not hold the answers, but rather waits, nay yearns, to meet his maker. This is Small Government.
The second vignette sees Tamara Lee and Michael Allen sitting side by side on illuminated boxes. Allen is on a drip; liver disease perhaps? A recovering alcoholic? He doesn’t look yellow… The couple are waiting, we aren’t told what for – Brooker writes it is a “life-saving delivery”. Relationships are suffering as individuals become more reliant on technological innovation and less on personal interaction. She is his enabler, but there is a twist in store. Point/Click looks at human relationships from a place of disconnection; where humanity has grown numb.
Finally we witness a grieving father at the funeral of his deceased child. Only three in attendance – or is that two and one spirit… Where are the people who loved him? An adolescent of only 14 years, mistakenly killed in a drone war; perceived as a threat on his way to buy lunch. Nothing now remains but the reminder of a few dirty coins fused to the pavement. The grief is too much to bear for a mother. This is an exploration of autonomous weapons in Dead Birds.
The acting is brilliant and helps you to engage with the complex stories. Brooker and his cast appear to have developed a deep understanding of the text and execute with equanimity. Their composure in the heat is particularly spectacular.
The plays themselves show great promise. But at times they are altogether too abstract to really enjoy upon first hearing. One would love to see some investigation of the themes within an expanded context. There are some very interesting concepts here that deserve to be properly explored.
Brooker is undoubtedly one of Adelaide’s most exciting emerging playwrights. Bravo.
Paul Rodda
When: 12 to 16 Feb
Where: The Tuxedo Cat - Cusack Theatre
Bookings: adelaidefringe.com.au
