Deluge

This year's Adelaide Festival of Arts has thus far been commendably adventurous, unafraid to take an audience out of its comfort zone, willing to stretch the parameters of theatre beyond what feels familiar. Deluge is an experiment that should prove interesting and rewarding for all those willing and eager to be taken somewhere new and different; the unique concept behind this venture makes for an intriguing, excitingly unpredictable experience.

Upon being presented with a performance area (designed by Elizabeth Gadsby) that turns out to contain ten people in a sea of foam cubes within which they have the ability to bury themselves and disappear, one's imagination is already being stimulated by artists who strive to forge their own path. After seemingly being brought to life by electrical activity, the lives, interests, and personalities of the ensemble begin to define and assert themselves, virtually all at once.

With most lines being delivered in fragments and at rapid-fire speed (sometimes even overlapping), viewers must remain alert in order to determine the strongest focal point at any given moment. At times, you virtually have to make your own spontaneous decision regarding whose dialogue deserves to have the most attention paid to it.

How interesting and/or important the words of a particular character appear to you will unavoidably affect the choices you are forced to make while experiencing Deluge (and will likely be affected by other factors, such as where in the audience you decide to sit). The approach taken here will challenge you to question - and reflect on - the reasons why we absorb some sources of information while ignoring others.

Towards the end, plot and character threads begin tying together, context becomes clearer, and the full implications of what we are seeing (and have been seeing) start to resonate. One is left with the impression that playwright Phillip Kavanagh is especially dismayed at those in this world who trivialise matters of great importance and who value (or are at least either unable or unwilling to move beyond) superficial banalities.

The ensemble of ten performers operate together in close quarters while managing for the most part to divide their universe into five unequal sections and to conduct themselves with oblivious independence - though voice projection is occasionally less than what it should be, making full comprehension into a struggle. You may or may not be impressed by any individual performers over the others, possibly depending on whose character you end up most closely relating to.

Nescha Jelk's direction of this multi-stranded melting pot is generally successful at finessing the balance required to evoke chaos without simply becoming chaotic. Chris Petridis' and Will Spartalis' respective contributions of lighting and sound designs are relatively limited but important and impactful.

The three years of creative development spent to bring Deluge to life have resulted in a vibrant, pertinent piece of theatre that deserves to find appreciative, attentive Adelaide audiences.

Anthony Vawser

Photo credit: Ché Chorley, Adelaide Festival of Arts