Fans of immersive theatre, STOP READING NOW AND BOOK TICKETS BEFORE THIS SELLS OUT.
You arrive at Raj House at the allotted time, Dion ticket in hand. A good-looking gent in denim cut-offs welcomes you and tells you your car is waiting. After consenting to take full responsibility should you happen to die or be maimed or dismembered, you are led into the laneway where said gent opens the back door for you, and you and two other audience members pile into the back seat.
The driver simply sits, staring straight ahead. Then she turns on the CD player and the indicator, and you're off.
What follows is an intimate and extraordinary peek into the mid-breakup mind of the narrator, director, writer and performer, Davina April Wright. It is by turns touching and surreal, terrifying and mundane, quiet and violent.
Wright's narration, played over the car's CD player, is exquisitely written. I could have happily been driven around for an hour just listening to her stories. But there's much more to this ingenious piece of site-responsive theatre than great writing.
Playing out in the back alleys, side streets, and overgrown warehouse lots of Adelaide and its inner suburbs, you are constantly on alert to spot the handful of performers miraculously popping up before your arrival to play out a series of vignettes lit by car headlights. Eliciting those breakup blues, these moments are glimpses of memory - glimpses of real and imagined sensations, desires and occasions during the relationship and its demise.
Starting off sweet and a bit funny, the moments portrayed outside the safety of the car veer into the bizarre and outright scream-inducing (and potentially distressing). Towards the end, particularly the moment we are asked to step out of the car and into the pitch black night, the meaning of these vignettes becomes less clear, and their relevance diminishes. In all, though, they do impart the very strong sense of turbulence that can follow a breakup.
The front half of this epic and immersive experience from company Gold Satino is simply brilliant. If the end was filled out with a little more of the extraordinarily engaging written narrative, this show would be a solid five stars, pick of the Fringe.