Directed by Emily Ayoub
Clockfire Theatre Company
Old 505 Theatre @ 5 Eliza
5 Eliza Street, Newtown
Season: 13 – 31 October
Evident in oral tradition, art, and cultural practices, the magnanimous force of water on this earth seems to invoke a myriad of universal experiences, both tangible and subliminal. When words aren’t sufficient to articulate such a force in the world, artists must turn to other facets of expression. Clockfire Theatre Company’s we, the lost company enlists the dreamlike use of physical theatre, music and voice recordings of spoken memories to explore the human relationship with water, particularly the ocean. Vastly surreal and yet antithetically relatable, prepare to be submerged in the artistic expression of our enduring relationship with the colossal element.
In this show, the audience is continually confronted with seemingly abstruse images created with the human body and interaction with various props. However in the process of absorption into the work, the audience is able to offer themselves to the sensory experience and be consumed by the emotion evoked in the physicalisations. The voice recordings paired with the movement on stage allow an insight into the depicted episode. The performers yield to the natural humour inherent in the personal anecdotes, proving to engage the audience in multiple areas. Madeline Baghurst, Alicia Gonzalez and Arisa Yura perform the devised work with immense conviction and an inimitable otherworldly quality. The artists seem to refract the world we live in, initially shocking in their bizarre state and yet the audience warms to them as they recognise the familiar notions of their performance.
The design elements prove to play a crucial part in actualising this breathtakingly abstract dimension. Costumes transform the performers so that they appear to partially belong to the ocean, battered and sunburnt. Amanda McNamara is credited with this design realisation, which helps the performers take their shape. A simple set design allows for a transformative experience and prompts one to question the literality of the occurrences on stage, and perhaps establish the theatre as a realm of human memory, prone to alteration and yet significant in highlighting the indelible imprint forged by the ocean. Ben Pierpoint’s composition and arrangement in the work is critical to the atmospheric effect and provides an ideal tone for the flourishing of the performers.
Clockfire Theatre Company’s we, the lost company is staunchly ambitious, which is thrilling for audiences. Whilst confronting everyday perceptions of the real, the work emanates new depictions of the surreal. This approach serves to broaden one’s understanding of the varying human connections to the vast and steadfast ocean and informs our ability to communicate and interpret these connections. In the shedding of norms pertaining to humanity, a deeper humanity is to be discovered.