Conviction (The Hive Collective)
Metro Arts, New Benner Theatre
March 17 – 27
There’s something exciting about standing at the brave new world of the start of story we are told during Zoey Dawson’s “Conviction”, the final in new company The Hive Collective’s trilogy of works at Metro Arts. The truth of the statement is clear from the very start of the thematically rich and clever piece of independent theatre. It’s morning as a young woman, Lillian (Emily Burton) describes the surroundings of what we later know is her messy lounge room in Brunswick East, where she intends to write a play – an important play, an instant classic, a story that matters.
Before this, we are given an explanation of need for risk-taking to get started writing, especially when your all day can be so easily filled with distractions. As performers (Burton and Luisa Prosser, Kevin Spink and Jeremiah Wray) list through almost overlapping thoughts it’s difficult to determine their interrelationships and discovering them in forthcoming scenes becomes part of the show’s ongoing joy as the ideas interestingly blur the outlines of each section in a way that makes them easier to sink into. Indeed, it’s a clever device that threads all sections together allowing for an added depth to audience appreciation.
The divisive potential of this unconventional work is realised from its very first scene of the four performers standing on stage in darkness. This is also the initial of many times when Anna Whitaker’s sound design and Christine Felmingham’s lighting design serve as production standouts, especially in support of scene transitions. Quite different to the Collective’s earlier works, “Conviction” is risky in its dramatic structure. It’s clearly the most unconventional of three, not so set in Greek mythology, but still, like “The Bull, The Moon and the Coronet of Stars” and “Elektra/Orestes” very dynamic, thanks to Kate Wild’s sharp direction. On the way to this, however, things get quite odd and also dark at times in its dense but taut approximately 70-minutes duration.
True to its absurdist meta-theatre black comedy promise, the non-linear story goes first to colonial Australian, or farce thereof given the intentionally contrived representational character realisations. With the writer’s convict drama unravelling, all is not as it seems and not just because of its jarringly progressive and self-aware strong female protagonist who is conscious in her rejection of old fashioned cis gendered male sentiments of supremacy around women.
Aware of the big issues beyond her own story, Lillian is sympathetic to the plight of the first peoples and eager to see their stories told and all types of things that challenge our conception of historical drama. And it is here in mockery of the Australian canon (and the playwright’s own artistic ambition), where each cast member is at their deliberately melodramatic best, especially Burton who hits every note needed for maximum comic effect as the convict plot line unravels us deeper into the psyche of the playwright.
This is the strongest of sections which then shift us back to the mundane of the flat in which her partner returns from his day’s work to discover and discuss how she has spent her time and then the harsh dystopian conclusion of confronting imagery that also stems from Lillian’s writer brain, in contemplation of the journey a writer goes on trying to express themselves and what can work against it.
Things pace along perfectly until the final section of what could easily have been overly self-indulgent work about what being ‘just’ a writer means, the process of writing and the self-doubt that characterises a lack of conviction. Besides this interrogation of the creative process, “Conviction” is also about the darkness and light within us all, however, any universal themes are burdened by its daring, experimental style of independent theatre that may be challenging to audience members with preference for clearer narratives the experience of which requires less effort.
As the rollercoaster work crescendos to its conclusion, a voice over shares the creator’s hope that it all makes sense and that we understand everything exactly the way we are meant to. Clearly, The Hive Collective creatives are confident storytellers, especially in exploration of themes around the social inequality of the sexes and Brisbane audience can now only anticipate what the company might bring us next.
Photos – c/o Stephen Henry