600 Seconds

600 Seconds is a short works development program presenting works-in-progress from emerging artists and artists who are experimenting with new ideas. Quintessentially Fringe, it is an experimental zone as well as being pure short form theatre. As an audience member it is likely that you will not connect to all of the pieces, but its short and sweet nature means that a completely different moment is always just around the corner.

Artists are given 600 seconds to present their work. The genres, styles and level of development vary. Some feel like cuttings from an existing or potential larger piece, while others are complete in their own right. There are two complete programs, each performing for two evenings, with the final performance on Saturday being a compilation of the audience selected favourites.

The provocation given to the artists was “spilt milk”.

Liquid Gold is a fascinating, dare I say expressive, theatre piece about the trials of breast feeding. Performed by Renee Newman and Ella Hetherington, it is both funny and heartfelt.

In My Little Santino, Courtney Cavallaro cleverly plays a whole Italian family, with the help of some pasta and some sauce. An examination of family relationship and coping with loss.

Via Lactaea uses physical theatre, dance and movement to examine society’s view of breasts, and milk. Seven very precise performers working wonderfully in sync.

Rachel Woodward’s Flowering uses clowning to tell a beautifully gentle story about trying to grow a flower. A complete piece, it has a wonderful ending.

Il latte versato looks at three brothers of Italian heritage who have been estranged - featuring the talents of Christopher Moro, Jordan Valentini and Ryan Marano. A story I would love to see developed further.

Kebab, written and performed by Sian Murphy, tells of ethical debate and blurred lines, working very well with the audience in direct address.

Freight, written and performed by Patrick Gunasekera, contrasts interviews of five anonymous, white and non-disabled members of the Blue Room Community against the experiences of a non-white, disabled, theatre-maker, in a highly physicalised, very emotive piece. Innovative and interesting.

600 Seconds is the perfect taster plate for those who would like to see some more experimental, innovative theatre, but are afraid to do so. There is a lovely camaraderie, the pieces are all clearly labours of love, and if something is not your cup-of-tea, another piece is certain to appeal.

Kimberley Shaw

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