Happy 1000, 1000
Bahagia by Peter Turrini
La Mama at The
Black Box until October 22, 2000
American
Dreamchasing by Mark Hansen
North Melbourne
Town Hall until October 22, 2000
Reviewer: Kate
Herbert
Happy 1000, 1000
Bahagia is performed in Indonesian, English and Australian deaf sign language.
(Auslan) Ironically, the play, written by Pete Turrini, is originally in
Austrian.
Not only is Turrini's text demanding and provocative, but
the collision of three languages, the physical style and dramatic content
create a riveting performance.
The form is abstract. A man (Wawan Sofwan) decides he
will kill himself when he finishes counting to one thousand. Two women (Jodee
Mundy, Tiffany Ball) count with him in English and Auslan as he counts in
Indonesian.
Yes, they really do count the whole way to one thousand
but there are diversions into the man's last days, his memories, images of
walking in the street, meeting neighbours and trying to maintain his
translation job for a newspaper.
The counting becomes mesmerising. It numbers off his last
moments as he marches toward suicide. The three count in rhythm, the numbers
are counterpointed like a musical score. The man holds a gun to his head
reminding us of his impending doom.
The performances are compelling particularly of Sofwan
who is a sparkling presence on stage. Mundy has a brightness which enlivens her
physical performance in Auslan and Ball provides the connection for those
understanding only English.
The direction by Sandra Long is inventive and takes
advantage of the abstraction of the script. She finds innumerable ways to
colour what could be lifeless enumeration.
Turrini writes with beauty and conviction with a rich
sense of the power of the mind in a state of depression and obsession.
Another performer who presents a potent obsessive
presence is Mark Zonacat Hansen. His show, American Dreamchasing with Spirit
Drive not Ego Jive, fits no mode of performance.
He chats about his Attention Deficit Disorder, his
abstract random mode of thinking which he tries to fit into a linear form.
He tells stories about New Age theory, EST,
self-discovery and the search for happiness in a world that thinks he is
crackers.
As the only audience member, this was an oddly personal
experience. It is not drama, nor is it comedy. It is not the most skilful of
scripts or performances. But it is strangely compelling.
By Kate Herbert
for 2 pages:
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