The Can Can meets the soccer pitch in The Game, a high-energy new work from The Robyn Co. that tackles the triumphs and tribulations of women in Australian football. With a blend of dance, physical theatre and multimedia, this FRINGE WORLD production took a satirical jab at the double standards and misogyny that continue to plague the sport, even amid the rising popularity of teams like The Matildas.
Emerging performance-maker and WAAPA (Western Australian Academy of Performing Arts) graduate Leah Robyn led a talented cast of dancers – Briannah Davis, Keana Mislang, Zakayyah Maclean, Bridgette Davies, Delaney Brooklyn and Lucy Wong – who depicted the game through a series of hilariously absurd dance sequences. With deadpan expressions and serious intent, they interwove choreographed ball play (mentored by Dana London) with unexpected styles like the Can Can, Riverdance and stripper moves.
The choreography was tight and polished – though the ball play, while clever, didn’t quite evoke the finesse of professional athletes.
Adding another layer of humour, Wong shone as the sports commentator Lucy Leftback. Her charisma, comic timing and delivery were excellent and her lines consistently landed. Unfortunately, while Wong’s characterisation and delivery were excellent, a technical issue with the audio synchronisation unfortunately detracted from the impact of her filmed segments. This was redeemed whenever she performed on stage without the technology. As an actor, she’s a force to be reckoned with, in total command of her material and parodying the drama and passion of the game with relish.
Beyond the comedic elements, the production also explored more serious themes. A grotesque solo by Zakayyah Maclean poignantly examined the physical toll of the sport. She limped around the stage, her body contorted in pain, eventually writhing on the ground like a wounded animal while multimedia displayed news articles about sports injuries. This transitioned into a chilling sequence that tackled sexism head-on.
Vile online commentary about the players’ bodies, sexual attractiveness and preferences played on the screen as the dancers performed stripper moves on the ground. This juxtaposition of misogynistic commentary and provocative choreography served as a sardonic comment on the objectification of women in sports.
The production culminated in a powerful moment of protest. Echoing Nicky Winmar’s defiant act of raising his shirt to reveal his skin colour in 1993, the women lifted their jerseys, but with a twist. While one dancer boldly displayed her chest (clad in a sports bra), the others hesitated. This disparity highlighted the complexities and nuances of female agency and protest in a world that still seeks to control and objectify women’s bodies.
The play concluded with a joyous celebration of women’s football, featuring interviews with Perth Glory players and fans, effectively tapping into the classic underdog narrative that resonates so strongly with Australian audiences. The Robyn Co. delivered this narrative with flair and finesse, highlighting the dedication, passion and resilience of these athletes.
William Gammel’s driving drum and bass soundtrack created a dynamic, high-voltage energy on stage, amplifying the drama and evoking a sense of urgency, power and tension. Gammel also designed the clever set, transforming the stage into a football field with audience members lining the sidelines and a prominent goal at one end. His multimedia design skillfully wove a tapestry of derisive tweets and texts, underscoring the online misogyny female players endure.
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The Game was a terrific show that embodied the spirit of Fringe – it was genre-defying, provocative, playful, dynamic and powerful. This vibrant examination of women in sport didn’t shy away from the ugliness and pain, but also managed to imbue the audience with a renewed sense of passion and interest in the game. Props to The Robyn Co. for a powerful and impressive debut production.
The Game was performed 17-19 January 2025 as part of FRINGE WORLD.
