Everything all the time

One of the lovely things about festivals such as the 2013 Melbourne Fringe is the opportunity to experience theatre in eclectic and interesting spaces. Everything all the time is staged inside one of Melbourne’s oldest bookshops, the Hill of Content.

Sean M Whelan’s production is an engaging, inventive and philosophical exploration of contemporary relationships. We’re quickly introduced to the characters of Tully (James Tresise) and Patience (Kali Hulme), who meet unexpectedly in a bookshop. As they get to know one another, Tully and Patience come to question the strands that hold together their lives, the world they inhabit, and ultimately their relationship itself.

There are some wonderful and quirky references to popular culture with Pacman, Phar Lap, Instagram and Puffing Billy all touched upon, often in clever and unexpected ways. The core philosophical discourse of Everything all the time is complementary to the bookshop setting and confidently presented. The material is both absurdist, poignant, engaging and funny.

Structurally, the piece is presented as a series of fragmented vignettes or conversations between the two characters of Tully and Patience, which escalate into deeper surrealist discussion.  

Whelan’s text is very visual, with particular focus upon Melbourne’s urban and natural settings. References to areas such as Belgrave and the Dandenong Ranges effectively conjure a strong sense of place, time and locality. A clever use of space and light create simple yet powerful images and transitions that the actors manage with flair.

Both Hulme and Tresise are equally matched in their roles, bringing a sense of compassion and humility to their performances. A stand out moment is when Patience (Hulme) tells a Ballarat-inspired ghost story to an eager Tully (Tresise) around a campfire.

Some of the naturalistic exchanges are at times a little clunky, challenging to sit through and do not completely resonate. In these instances, it may have been preferable to heighten the non-naturalistic elements. Arguably, a focus on the broader themes and philosophies has also been favoured over developing a sense of urgency within the plot itself.  Whelan could have provided greater agency within his characters as often the stakes do not feel high enough.

That said, some very strong thematic ideas, namely that of ghosts, dreams and stars tie everything together quite nicely. And once these themes gain greater clarity, Everything all the time becomes very multi-layered and self-referential, reintroducing elements of plot and story to the surprise and joy of the audience.

See this show if you want a magical journey, some good laughs, and some food for thought.

Rating: 3 ½ stars out of 5