Much like the men they were portraying – The Danger Ensemble’s production Sons of Sin was a complex beast – most of the time it was engaging or fun; but at other times it swung the spectrum from banal to confronting.
A difficult piece to review given the hugely varied reactions each scene/story elicited – something this provocative production undoubtedly sets out to do – on the whole, the ideas and the ambition behind this production push it beyond something which is simply shocking to something that ultimately makes you think.
A play exploring ‘manhood’ and the rites of passage males go through – the audience knew this was not going to be a night of ‘traditional’ theatre as soon as they walked into the venue – with the room stripped of chairs and the performers holding sway in the middle of the room.
The nature of the performance itself was already designed to change with every telling (a deck of cards was laid out in a circle as part of a drinking game, with each card indicating which scene was to take place next).
This was taken further with audience members encouraged to dare cast members into doing different things and asking them deeply personal questions during the ‘hot seat’ sections.
Largely improvised in these scenes while other rehearsed stories drew from classical texts, this mix of off-the-cuff and heavily stylised set pieces worked better with some performers than others.
Most of the performers were strong – however some standout moments came from Thomas Hutchins leading the troupe in dance and Ron Seeto, whose naked (in every way) monologue showed that the male form can not only be powerful, but beautiful and vulnerable.
By allowing the audience to have such a direct role in helping shape the direction of the night, were the cast hoping to hold up a mirror to us and represent the wider society? Were they hoping to show how much the outside world shapes the man inside? If so, then from much of what came about it is an ugly world.
On a different night would different themes have been explored if that was the direction the audience wanted it to go? Maybe, but perhaps this was the whole point.
The use of alcohol was also central to the core of the performance – highlighting again how it is often used in male relationships to bond and how easily excessive consumption can lead people to do things they normally wouldn’t do.
There was at one point a gruesome depiction of sexual assault that was made more horrifying when cast members told the audience to photograph it and share it on Facebook. A reference to the shocking Steubenville case and a way to explore the relationship between the perpetrators and the observers; but when some of the audience obviously didn’t ‘get’ the point of what they were doing and played into it by laughing and filming – it personally made the scene more disturbing and revolting.
While the play had a great and energetic start it started to lose vibrancy as it went on and perhaps like a metaphor for the lifestyle they were portraying, on this night it went on too long. The ending too was disappointing and seemed a little indulgent, especially as it came after a great set piece which could have easily served as the final scene.
A type of performance that will either speak to you or turn you away – it will nonetheless cause some kind of reaction to the viewer. Something different that, while it definitely won’t appeal to everyone, is well worth a look.
Rating: 3 ½ stars
Sons of Sin
Presented by The Danger Ensemble
Performers: Alex Fowler, William Horan, Thomas Hutchins, Aaron Wilson, Ron Seeto, Chris Farrell, Samuel Schoessow, Charlie Schache, Stephen Quinn
Soundtrack: Henry Collins
Director / Designer: Steven Mitchell Wright
Judith Wright Centre of Contemporary Arts
Friday, May 17 to Saturday, May 25
Find out more here.
*Warning: Suitable for ages 15+ (Contains adult themes, full nudity, strong violence, coarse language, weapons, strobe lighting and theatrical smoke effects. Due to the visceral nature of Sons of Sin, patrons may get wet, dirty, splashed or spoiled and may wish to dress accordingly.)
