Hibernation

For those who are followers of The Handmaid’s Tale, or remember the 1971 Omega Man, embraced the recent Quiet Place films, or whose memories stretch back to Shute’s 1957 On The Beach, Hibernation is a dystopian tale that yet again reminds us that there are consequences of choices made, often dire, of human behavior, and sometimes the solutions, expendable as they seem, can be as bad or worse than the problem. Recent success, or not, with COVID-19 lockdown may give us pause to reflect on how controllable humans are, and how concerned we are, as a group made up of diverse individuals with the well-being or future of others.

A world premiere from South Australia’s prolific writer, Finegan Kruckemeyer, and creatively and deftly directed by State Theatre’s Artistic Director Mitchell Butel, Hibernation, set in 2030, is created using three distinctly different scenes.  It is disturbingly placed in a near future that we can see, almost touch and imagine. Additionally, as an added confronting barb, is the complex second scene, set entirely in Adelaide. Originally set in 2040, Butel and Kruckemeyer, stimulated by recent damning world reports on global warming, reframed this in 2030, almost tomorrow. They purposefully chose  to create a sense of urgency, a challenge perhaps, that it is not years away as Orwellian and Arthur C Clarke style tales, set far enough away that we could literally distance ourselves, this is tangibly, believably, a heartbeat away.

Running for nearly three hours with one interval and a lengthy scene change, the messages are powerful, if, at times, a little repetitive and overworked, but at all times beautifully, powerfully presented by the diverse, tight ensemble. The set by designer, Jonathon Oxlade, and lighting by Gavin Norris, for me, are heroes of this production. The stark white, seamless, almost painted on backdrop is purposefully lit with a cornucopia of colours, all enhancing characterisation, and the story, perfectly. Matt Byrne’s video design is creative, and pointed, adding layers to this well drawn tale. Sound Designer, Andrew Howard has miked all of the cast and on opening night there were some differences in levels, but sound is such that all of the 10 actors are well heard throughout.

The story explores the unlikely situation where world politicians actually agree to a single response to save our planet. This cleverly allows the audience to also experience the challenges of the poor, the elderly and the powerless with Rashidi Edwards and Kialea- Nadine Williams’ traumatic loss in Lagos, Nigeria while Ezra Juanta and Chris Asimos in Bogota, Colombia provide some light relief as they care for the indefatigable Rosalba Clemente, who, as her namesake Cassandra, powerfully reminds us of the impending retribution that nature delivers. Additionally, each of these versatile actors played more than one role.

To allow nature to replenish itself and address climate change with the relentless human march to denude our planet, a hibernation gas, 54-501E is administered across our planet. Designed to simply suspend humans in time for one year, there we see the first of many unintended consequences

All stories about the future need a talented child and Poppy Kelly as Jeong worked confidently with James Smith as Sang, her Korean father. Smith also as Pete, along with mesmerising Elizabeth Hay as Maggie, are the entire focus of the second scene, set in Adelaide, during the hibernation. For one year, here we see the first of many unintended consequences. It seems that because of surgery Maggie and Pete are immune to the gas and become forgotten humans, looting and witnessing horrendous events during the one year hibernation. It is this scene that provides both much needed comic relief, and also chilling portent.

Ansuya Nathan portrays Emily Metcalfe, powerfully and with notable stage presence. She makes the stage her own, fearlessly crossing swords with press, political advisers and politician Warwick Joyce played by Mark Saturno with confidence, gravitas and a good dose of political ‘snake oil’. 

This is a ground-breaking and unique presentation of what our future may look like if, as humans we persist in ‘finding’ fix its, rather than ‘losing’ our world. It unashamedly calls us to account with humour, poignant exploration of inequality and powerlessness and political ruthlessness and carelessness. It holds up a mirror to human naivety, sloth and casual ignorance. It is a play that should be a part of the Australian curriculum for our children, and a ‘must see’ for us, as adults who are caretakers for their future.

Jude Hines

Photographer: Chris Herzfeld