Led by Daniel Gough, The SuicideEnsemble presented an evening of 'fun and death' for the 2015 Melbourne Fringe Festival. The Reality Event is divided up in two halves, GAME and SUICIDE. GAME puts its audience in the driver seats of theatre creation whereas in SUICIDE, we are forced to confront the idea of 'safe' theatre and its boundaries between art and life.
In GAME, we are divided into five teams with one of The
Suicide Ensemble (Pavle Banovic, Esther Dougherty, Finley Kube, Remi
Roehrs and Sampson Smith) as the team captain. If the team loses a
challenge, the team captain is publicly "shamed" and sent away.
The "shamings" range from a public "dacking" to eating a
tablespoon of wasabi. There is a pack mentality to the proceedings as we are
encouraged to laugh and cheer while this is happening and despite its title, there is still a deliberately and grimly dark element to GAME.
The outlined purpose of GAME is to give
audiences the opportunity to be in charge of theatre, yet I found myself
questioning what exactly this theatre we were supposed to be making was? The
team captains were the ones who generally competed in the challenges and in the
shamings, except for a few "brave" audience members. While it was a
somewhat fun experience, I never once felt like I was in control of this experience. The abrupt ending and lack of explanation did not help
clarify any of these ideas either.
However, it is in the second
half of The Reality Event,
SUICIDE, that things take a distinct turn for the worse. The five performers
explain they are each going to be killing themselves and we will vote who
commits suicide and what method they will use. They explain that this is
not a show to talk about suicide but to blur the lines between what is
real and what is theatre. For the next 40 minutes, we sit and watch as
each person graphically depicts ending their life, through stabbing, suffocation and hanging, to name
a few. It is harrowing to watch, with a number of people walking out.
SUICIDE wants to make theatre
"unsafe" but I feel there are much better ways of eliciting these feelings
than by showing extreme and distressful scenes of people committing suicide.
There is no entertainment, no enjoyment and nothing to learn in watching these
scenes unfold. There is no discernible purpose or art here, but just gratuitous shock-value scenes of violence.
The Reality Event attempts to turn theatre around and
have the audience - traditionally the watcher - be the
creator and instigator. However, to achieve this successfully, I feel more care and thought is needed to ensure that this work's intended
messages are conveyed in an effective and responsible manner. The Reality Event seems to be
more focused on creating something that people will talk about rather than creating good theatre that people will talk about.
The Reality Event was performed at The Tuxedo Cat as part of the Melbourne Fringe Festival on
24 - 29 September.
* Original review appeared on Theatre Press on 29 September