The group uses electronic and recorded, as well as live music, and
gives some importance to visual design and staging. This wide-ranging
perspective certainly lends considerable interest to its performances,
but the results are mixed.
With its somersaulting ‘acro-fairies’, a punch-up between leading ladies Hermia and Helena, and a completely manic Puck inclined to moon the audience at whim, this is one revved up, madcap production of what is arguably Shakepeare’s best-loved comedy.
The Spook was inspired by the true story of a young man recruited by
ASIO in the 1960s and asked to masquerade as a communist whilst spying
on his local party branch. However, as Reeves assures us in her program notes, The Spook is a totally fictional and sometimes ludicrous version of the story.
LaBute’s cycle of plays is the very definition of the term ‘variations on a theme’. A series of slow-burn mono and duologues, each set in the front seat of a car, the cycle serves, sometimes too explicitly, as a kind of social rap sheet.