The show’s fitout (Daisy Hughes) of the small Actors Pulse space with its layout constraints worked well. The show felt seamless, and doors and spaces blended with direction (Rebecca McNamee) that was adroit throughout the piece. What might appear as a realistic interior setting proved to be anything but that, as Dorothy Gaul (Izzy Azzopardi) turned the tables on a therapist/patient situation. Absurdism is a style mentioned in the show’s program. What might appear as a warm, conventional domestic space becomes a scene of entrapment – the clock has no hands, the window covered, and Mackenzie Mills (Jessica Garnett) cannot leave, trapped in a foreboding sense of meaninglessness within and without.
Izzy Azzopardi played the lead impeccably and with allure. As writer her script gave aplomb expressions and non sequiturs that she delivered with sharp expression. She was constantly alert and animated – this direction was pleasing. Her clipped style synched with an expressive staging technique of jump cuts – rapid lighting transitions between short even micro scenes that are temporally and spatially close. Jump cuts are used with caution cinemagraphically – they are common on social media clips. How do they translate to stage?
At first the element of absurdism, that cuts against any presumed naturalism, is imbued with Pinter like suspense, even Hitchcock foreboding. If this is not a familiar situation, then anything is possible. The problem is the show’s themes do not fully deliver on the mood of suspense. Absurdism is compromised with show business stand up scenes permitted within the unhinged format. Generally this staging technique, while commendably experimental, seemed overdone, and increasingly unwarranted.
Later the show resorts to longer scenes where satisfying exchanges occur. Izzy switches from the provocateur of Mackenzie’s depression to her own depression as main themes of the show – the biological clock, media miasma and the insatiable pressures for success – are spelt out. The show proves to be demographically narrow cast. The problem of challenges facing career women has been spelt out since 1970 at least, in several generations of women. The current social consequences of digital media affect all ages. Why not a 2026 Helen Ready theme – I am a free blessed media challenged Woman who can rise the wave of the times?
What remains as a lament seems personal to the character, even the writer. There is no problem with themes – a more naturalist exploration of being female and 30 would be welcome. The shows ends with a play within a play trope. Again well written and performed, but perhaps less is more. As it is the show is a bit of a patchwork, of styles, characters and themes that don’t congeal. On opening night it seemed to have an appreciative fringe audience, so hopefully shows will share joy in its albeit exploratory presentation.
Produced by Jezebel Productions and Sydney Fringe
at Actors Pulse September 1
