The Heart Beats in Counts of Eight review | Monash Uni Student Theatre (MUST) | Monash University

In a dystopian future where synthetics are virtually indistinguishable from humans, the line between the two becomes increasingly blurred. Drawing on science fiction, body horror and comedy, Madeleine Willshire’s The Heart Beats in Counts of Eight examines identity, belonging and what it means to exist in a society that was not built for you. Its premise offers plenty of scope to explore the connections between artificial intelligence and neurodivergence, though bringing these ideas together in a way that delivers dramatic force and emotional resonance proves challenging.

There is considerable ambition underpinning the work, and moments when the production makes effective use of its futuristic setting. However, the tension is inconsistent, with several scenes missing the conviction or atmosphere needed to ensure their stakes land. Music heightens the intimate conversations, making its absence elsewhere noticeable. Esmé Stripp’s direction could do more to sustain the suspense and give the characters’ actions impact. A-31’s attempt to rob the synthetics, for example, lacks the intensity to make the encounter be genuinely threatening. Stripp’s direction of the actors playing the four Hivemind synthetics is particularly impressive, including a well-executed dance sequence that lends the show an eerie sensibility.

At a runtime of 100 minutes and an interval, this work is longer than necessary. The script contains a number of scenes that do little to advance the narrative. Cutting this material would maintain momentum and give key confrontations real weight. Tatum Anderson gives a memorable performance as Macey, but her character and Steph (Alisha Rangwala), have limited involvement in the central conflict. Their roles are somewhat peripheral, and integrating them more closely into the action, or reducing their presence, could result in a tighter production.

The dialogue is also uneven, with some exchanges not receiving the consideration needed to make them convincing. When A-31 asks Lou what she wants from him, Lou replies that she does not know because she has not thought that far ahead. Given that the previous scene establishes exactly why she is looking for A-31, the response contradicts her apparent intentions. The swearing also sits uneasily with the environment established with expressions such as “docked her pay or some shit” and “jackshit” feeling overly colloquial for a society shaped by a synthetic revolution.

The program notes describe this show as an exploration of Willshire’s own experiences and of other neurodivergent people. However, the narrative becomes so absorbed in its conflict between humans and synthetics that the links to the realities it seeks to represent never quite come together. These parallels are recognisable, but could be developed with greater clarity, allowing the underlying themes to emerge naturally from the science fiction premise.

The Heart Beats in Counts of Eight has an intriguing concept, but its execution falls short of what it could achieve. Willshire’s examination of difference and belonging could offer a distinctive perspective on the challenges of navigating a society that does not accommodate everyone equally. A stronger connection between the speculative elements and the personal experiences informing them would help bring these ideas to life.

SHOW DETAILS

Venue: The MUST Space, Monash University, Clayton 
Season: until 24 October | Thur - Fri 7:30pm, Sat 5pm
Duration: 100 minutes, with 15 minute interval
Tickets: $27 Full | $21 Concession
Bookings: Monash University

Image credit: Eric Stone