DESCENT FIVE: MATA GELAPWhere: Theatreworks, St Kilda, until Dec 12Reviewer: Kate Herbert The title of Theatre in Decay's new production, Mata Gelup, translates from Indonesian to "the darkening of the eye". It suggests revenge, and makes it an apt epithet for Robert Reid's play depicting a view of the global aftermath of September 11. The play is part docu-drama and part domestic soap opera. It is the news documentary components that are the most successful. There are some captivating images in the production, directed by the writer. The large cast of extras appear as a team of scientists, wrestling with a huge replicate of the Doomsday Clock that looks like Big Ben. They stand silently, holding lit candles in a vigil for victims of September 11, and they are a crowd of dancers falling dead in the Bali bombing. They enter in stark-white, chemical-hazard gear to combat anthrax. The problem is that most images are so fleeting their dramatic impact is wasted. Giving them more weight and time would provide a more compelling visual story than the shallow domestic drama of Micky (Elliot Summers) and Elishaba (Miranda Nation). The death of their dysfunctional relationship runs parallel to the global story of terrorism and mounting fear. Micky works away from home on train engines or oil rigs. Elishaba whines about his absence and works in a café until she becomes pregnant. A micro domestic story could act as a counterpoint the macro political drama, but this one does not amplify the global situation. The whole p[lay lacks a cohesive through-line and dramatic arc. The dialogue is think and the acting of the two leads are unimpressive. Mata Gelup is a great idea with some smart images, but it lacks a clear vision. P92, The Herald Sun, December 3, 2004 |