The latest work from Perth-based performance artist James Berlyn begins with him individually welcoming the 16 members of his audience to the performance space. One by one we enter, are warmly greeted, and invited to choose a seat of our preference around a large, circular table. This direct introduction subtly but effectively establishes two of the main themes of I Know You’re There – that this is a very personal show, exploring the notion of finding one’s place in the world.
Another theme – resilience – is conveyed through the production’s dominant design element: that most utilitarian of objects, brown paper, which is reusable even when scrunched up or torn. The table and chairs are wrapped in it, and placemats – which we are invited to set out ourselves and smooth into a semblance of order from their original crumpled state – are made of it.
The making of our placemats also touches on another theme of the production which is quietly prominent throughout: the quest for individuality.
Just as Berlyn describes his struggles to find himself as an artist, to stand out from the chorus line, the audience is invited to extract a single sheet of brown paper from a wadded ball made up of many such sheets and to place it before themselves on the table. How we place the mat is up to us. ‘Portrait or landscape,’ says Berlyn. ‘All orientations are welcome here.’
What follows is a gentle monologue about Berlyn’s life as an artist, his struggles with depression and suicidal ideation, and his relationship with his emotionally distant naval father – who was often away at sea for months at a time – as well as revelations about his grandfather, who died long before Berlyn was born.
His relationship with his mother is also touched upon, illustrated with gentle reminiscences about dancing and laughing in the kitchen, or watching a Russian spacecraft, the ill-fated Soyuz 11, crossing the night sky together – a memory which is also an ominous foreshadowing about dreams crashing to earth.
His parents’ own relationship is also explored, conveyed tenderly and intimately through a unique musical component of the production.
Berlyn’s performance is charismatic, assured and appropriately understated. As he talks, he makes a point of urging us to welcome our own memories, to embrace any half-forgotten recollections stirred into wakening by his anecdotes, resulting in a parallel, private narrative unique to each audience member as the production unfolds.
Amidst these personal reflections on family and connection, depression and artistic ambition, one of the most affecting moments in the work comes as Berlyn describes his realisation that his father – who lost his own father when he was very young – had no-one to teach him how to be a parent. It was a journey he undertook on his own. It’s a moment of touching intimacy, natural and unforced.
Not every moment in the production is as strong, or as focused. Dramaturgical work is required to strengthen connection points in the script, and the gradual pace of the narrative isn’t quite enough to sustain focus across the 90 minute running time.
Some tweaking and tightening would result in a stronger, more compelling work; nonetheless, the production’s intimacy charms.
Rating: 3 stars out of 5
I Know You’re There
A Performing Lines WA production
Creator & performer: James Berlyn
Director: Jim Hughes
Sound Designers: Late Night Shopping
Design Consultant: Zoe Atkinson
Script Consultant: Alison Croggon
State Theatre Centre of WA
19 February – 6 March
Perth International Arts Festival
11 February – 6 March 2016
perthfestival.com.au
Richard Watts travelled to Perth as a guest of PIAF.
