Robert the Octopus weaves absurdity and romance into a story that promises unexpected twists and whimsical charm. It’s a world that director Kimberley Twiner couldn’t resist exploring on stage. "For
starters I love what is possible with a three hander play! I love
what becomes possible when we bring animal life onto the stage - one of
the characters is an octopus," she tells me. "I also love that the writer, Alex Duncan,
has put his faith in a rather irrational sounding plot and handed it to
me. For me, this is the beauty of theatre: the suspension of disbelief
in real time played in an unsinkable and relentless fashion!"
Twiner’s previous work includes various projects with the queer physical theatre company she founded, PO PO MO CO (Post Post Modern Comedy), such as Lady McBreast, and the critically acclaimed, award-winning Stickybeak. These productions helped define her signature style, blending playful experimentation, bold theatrical choices, and a knack for creating engaging, unexpected storytelling. "Like my previous works, Robert the Octopus will have big characters and seriously playful actors," she states. "It is bright, poppy and warmly subversive. There will of course, also be some very enjoyable WTF moments!
Queer storytelling has long been central to her work, and Robert the Octopus continues this exploration by emphasising comedy and playful physicality. "What I think is important here is bringing comedy and lightness to the queer storytelling. I'd change the word actually to story-playing," Twiner explains. "The comedy relies on the playful body. Queer bodies, the flesh and matter of our bodies have been put under scrutiny. As queer bodies we are subject to both implicit and explicit pressures to tone ourselves down, to adjust ourselves, to reduce a certain aliveness. As queer physical theatre performers we strive to reclaim a wild celebration of the joyous queer body. A body that is animal, elemental, borrows from nature, gods and goddesses. The body can let go of repression and find expression!"
As Robert is an octopus - a character not often seen on stage - Twiner approaches bringing him to life through physical theatre, alongside Lily Fish, who takes on the role. Drawing on the Lecoq methodology of mask, mime, and movement theatre, Twiner explains that within this training it is not unusual to see an octopus on stage. "The core question from the Lecoqian approach is 'How does it move?'. Clearly, how an octopus moves is not conceptual, we can't sit down and think and talk our way there. So we will be on the floor studying collectively how the creature moves, how it takes up space, retracts from space, how it spirals, undulates, encloses itself and interacts with objects.
Twiner’s previous work includes various projects with the queer physical theatre company she founded, PO PO MO CO (Post Post Modern Comedy), such as Lady McBreast, and the critically acclaimed, award-winning Stickybeak. These productions helped define her signature style, blending playful experimentation, bold theatrical choices, and a knack for creating engaging, unexpected storytelling. "Like my previous works, Robert the Octopus will have big characters and seriously playful actors," she states. "It is bright, poppy and warmly subversive. There will of course, also be some very enjoyable WTF moments!
Queer storytelling has long been central to her work, and Robert the Octopus continues this exploration by emphasising comedy and playful physicality. "What I think is important here is bringing comedy and lightness to the queer storytelling. I'd change the word actually to story-playing," Twiner explains. "The comedy relies on the playful body. Queer bodies, the flesh and matter of our bodies have been put under scrutiny. As queer bodies we are subject to both implicit and explicit pressures to tone ourselves down, to adjust ourselves, to reduce a certain aliveness. As queer physical theatre performers we strive to reclaim a wild celebration of the joyous queer body. A body that is animal, elemental, borrows from nature, gods and goddesses. The body can let go of repression and find expression!"
As Robert is an octopus - a character not often seen on stage - Twiner approaches bringing him to life through physical theatre, alongside Lily Fish, who takes on the role. Drawing on the Lecoq methodology of mask, mime, and movement theatre, Twiner explains that within this training it is not unusual to see an octopus on stage. "The core question from the Lecoqian approach is 'How does it move?'. Clearly, how an octopus moves is not conceptual, we can't sit down and think and talk our way there. So we will be on the floor studying collectively how the creature moves, how it takes up space, retracts from space, how it spirals, undulates, encloses itself and interacts with objects.
With
the story bouncing between awkward romance and pure absurdity, Twiner
is looking forward to unleashing these big characters into Midsumma audiences. "I love larger than life characters and this is what excites me
about this show! If you people-watch for five minutes you will
appreciate that this
world is a bustling zoo of larger than life people. In my opinions the
stage must be as alive and as full of characters as say Sydney Road in
Brunswick on a Saturday morning - every moment brimming with possibility, and I am excited for people to feel that with Robert."
MIDSUMMA MINUTES – QUICKFIRE FIVE
1. A song I could listen to on repeat forever is Edge of Seventeen by Stevie Nicks.
1. A song I could listen to on repeat forever is Edge of Seventeen by Stevie Nicks.
2.
One object I can’t live without backstage is costumes! I need
to know that everything is exactly where it should be! No
unnecessary items backstage please!
3. My favourite word is zig-a-zig-ah!
4.
Something unexpected that brings me joy is The Matildas/women's soccer! When I watch, I see incredible high-energy, embodied, ensemble
play by fiercely strong women. Some of the best theatre I've seen
lately has been on the footy pitch! The rawcus festive energy of the
audience... it's the best.
5. If I could live one day as
someone else, it would be Sam Kerr. I'd like to experience a feeling of
being celebrated, seen, respected for being at the top of my game and
I'd like to just be really able to be doing my physical job for a whole
day. And hey x1 day of Sam Kerr's paycheck would be amazing!
SHOW DETAILS
Venue: Brunswick Mechanics Institute, 270 Sydney Rd, Brunswick
Season: 29 Jan - 7 Feb | Wed - Sat 7pm, Sun 4pm
Duration: 60 minutes
Tickets: $40 Full | $30 Conc and Preview
Bookings: Midsumma Festival
Image credit: Hannah Spence
No comments:
Post a Comment