The sound that greets us as we settle into our seats is the buzz of cicadas, which surrounds us until THE WET begins with each of the five members of the ensemble sliding, twisting, clambering and tumbling down a rope to the stage.
They begin as ground creatures, on all fours, peering out into their world, alert for food, danger and subtle changes in their environment – heads erect and listening, eyes very focused. As we watch, they morph into beings who leap, climb and fly, balancing on each other’s bodies, soaring over other crouching creatures.
Balance is a central element of this piece, both literal and metaphorical – standing on shoulders and at one point travelling across the stage. The performers – aloft holding very long poles, all made by the cast themselves using traditional methods – seem to be fishing. The stage is only lit to show us the upper performer, wielding their pole, gliding across water, while a fish performer jumps and writhes as it’s speared.
There is some spectacular tumbling with ensemble members hurling themselves fearlessly across the rest of the cast, like confident animals in their natural habitat.
This work requires great strength – the male performers are lifted and held and carried several times by females – a nice reminder that women must be as physically strong as men for a community to function as a healthy whole.
Later in the piece two towers are built, of two people each; to this reviewer, it’s as if they are standing on the shoulders of their ancestors. The fifth performer is guided up to the top of one tower, then slides down between the closely arranged bodies, the journey back to the earth, surrounded and cushioned by the rest.
The moment when ‘the Wet’ arrives is marked by the sounds of a torrential downpour – the ensemble sits listening to it with us. Later there is a cyclone; some run around the stage throughout this seemingly endless, deafening roar, and soon broken things rattle and clink and smash, adding to the destruction, before calm returns. Circa and Guy Webster’s sound design here is perfect – a visceral event.
The soundscape throughout is stunning – from welcoming cicadas to the music: William Barton’s voice and didgeridoo playing feature in two tracks, one with Wulfin Lieske, one with Richard Tognetti and the ACO. Sampa the Great, Ola Szmidt, Sultan Archives, Gaussian Curve, Ngulmiya, Wilma Archer, Cosmo Sheldrake and Jonny Nash and Suzanne Kraft’s compositions are all used to wonderful effect – the common feel is meditative and contemplative, punctuated by rhythms and percussion, with echoing electronics, plucked and bowed strings and other-worldly vocals and sounds from the natural world.
Laurie Anderson’s ‘Kokoku’, sung in Japanese, seems to encapsulate the whole theme of this work. It begins (translated by Genius online, worth reading all the lyrics)
I come very briefly to this place
I watch it move. I watch it shake…
And we say:
Watch us move. Watch us shake. We’re so pretty
THE WET’s music soundtrack is my new favourite listening discovery on Spotify. The final image is mesmerising – each performer glides onstage balancing their poles across their heads, lit in a warm half-light from the sides of the stage. The environment is always in a delicate balance and requires us all to tread lightly and carefully to keep it moving forwards in the rhythm of Nature.
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This is a stunning work by Harley Mann and the ensemble from Circa Cairns, full of passionate, talented artists in a thrilling, visceral celebration of Country. Everyone everywhere needs to see it.
THE WET
Created by Harley Mann and the Circa Cairns Ensemble
Alexander Theatre, Monash Performing Arts Centres
Monash University
Director: Harley Mann
Original Lighting Design: Johlian Gliindon
Reimagined lighting design: Morgan Maroney
Costume design: Helen Lavis
Sound design: Circa Cairns and Guy Webster
Ensemble: Margaret Church Koop, Johnny Brown, Violetta Van Geyzel, Jacob Kenner, Manelaya Kaydos Nitis
The Wet was performed at Monash Performing Arts Centre from 21-22 March 2025. It will tour to Sale on 27 March and Traralgon on 29 March 2025.
