Concrete Playground

A dark room, a void. A woman speaks, murky yellow light throwing shadows across her face. She speaks, as a woman preparing for her day, a day like any other. An air hostess, guiding her passengers through emergency guidelines. And as a victim relentlessly pursued.

This is a surprising twist for writer Duncan Graham and director Sarah John, who are long term collaborators. Another production that played last year at Belvoir Downstairs, Ollie and the Minotaur, was resolutely realist, where Cut draws more on Artaudian techniques. It's twisted, dark and disorienting. Despite this, both productions share a particular irresistibility and a determination to take the audience beyond: a recipe for truly powerful theatre.

As the lone actor, Anita Hegh's role is hugely demanding. The splintered monologue is unrelenting, pushing and pulling her between the everyday and the surreal. And it's to her credit that the performance, almost as demanding on its audience as on its actor, flies by in an instant. It would also be an oversight not to mention Ekrem Mulayim, whose sound design is integral and exceptional.

Delving into the murky depths of the unnamed, this is a production of sensation. It is difficult to express or comprehend and, in this, it is incredibly powerful theatre.

Belvoir St Theatre have offered Concrete Playground readers a discount on all Cut performances over the Easter weekend. To purchase for just $25 (instead of $42), enter the code EASTERPLAYGROUND when purchasing tickets.

Image: Anita Hegh, photo by Heidrun Lohr