The question is: while this study of modern teens might be fascinating on paper, does it make for engaging theatre?
Driving Into Walls is a non-narrative, one-act play that consists of a series of segments – each tackling a different facet of teenage life. Throughout these segments the five actors on stage switch between various teenage characters – exploring their fears and fantasies through dance, monologues, spoken word and technology. Like chapters in a biology textbook, each segment of the play is allocated a number and a title that’s projected on a large screen behind the performers.
Indeed, watching the play is a bit like reading a textbook: a kind of A-Z of Teenagers in 2012. This may have been the intent: the initial motivation behind the play was director John Sheedy’s assertion that “W.A needs to know its youth”. However, this is where the play becomes problematic. Like reading a textbook, the audience is overloaded with information in the form of quotations, statistics and case studies but not provided with any real emotional insight or connection to this information. Without this emotional investment, the rapid-fire approach seems unfocussed and has a dulling effect on the audience as the play nears its 60-minute runtime.
The dance sequences – choreographed by Danielle Micich – do counteract this somewhat. At times these are quite spectacular, and add an immediacy and energy to the production.
The stage design is minimalist – placing the emphasis squarely on the actors. The major feature of the stage is a large, transparent, rectangular room in which the characters divulge their secrets and play out their fantasies. It is an effective tool, particularly when the actors move around and over the box – leaping effortlessly from its roof and pounding against the walls during the movement sequences.
The performances from the talented and brave cast are the production’s highlight. All cast members throw themselves into their characters and dance sequences with gusto and manage to embody the physicality of teenagers without patronising or resorting to cliché. My personal highlights were Thalia Livingstone – who brought an honesty and naturalism to her numerous roles – and Michael Smith who, playing an Indigenous teenager, offered some of the more eye-opening insights in the play.
Ultimately, Driving Into Walls suffers from being overly ambitious. It left me wondering what the play might have been if it had focussed on a few central issues in depth – rather than skirting over so many issues superficially. There is no shortage of talent on offer here, but in its attempt to offer the audience a taste of modern teenage life, the play bites off more than it can chew.
Rating: Three stars out of five
Driving Into Walls
Barking Gecko Theatre Company
Director / Set Designer: John Sheedy
Author: Suzie Miller
Choreographer: Danielle Micich
Production Manager: Jenna Boston
Stage Manager: Chris Isaacs
Lighting Designer: Matt Marshall
Sound Designer: Kingsley Reeve
Digital Artist: Sohan Hayes
Costume Designer: Alicia Clements
Vocal Coach: Luzita Fereday
Cast: Harrison Elliott, Michael Smith, Rikki Bremner, Matthew Tupper, Thalia Livingstone
State Theatre Centre (Studio Underground)
February 25 – March 3
Suitable 13+ years
Perth Festival
February 10 – March 3
www.perthfestival.com.au
