01/05/2014 – 03/05/2014
‘Anne. I know you’re there.
Who the fuck was it, she says. End of dialogue.
Panorama of the whole valley.
She’s definitely a non-smoker.
What’s Hecuba to her or she to Hecuba?
She’d like to be a machine.
The car twists along the Mediterranean road.
With a man you’ll never see again.
Is this the same little Anne who put all the tiny tiny shoes in rows?
I guess it’s kinda bittersweet.
Anne is offering us a pure dialogue of objects:
When she reaches a checkpoint lit by burning tyres she is asked for her name.
And the frightening thing is, is that she could be any one of us.
She’s the girl next door, she’s the fatal flaw.
Well, don’t you consider it accurate?
It’s really really important to understand that she is in control
Like a book, like a thread, like a… ‘
Certainly not a traditional play, the script takes the form of seventeen scenarios for theatre, each scenario seemingly disconnected from the last. Except that all of the scenes seem to address one woman named Anne (although her name changes slightly to Anny, Anushka, Anya, Annie etc). The play has been described as being a deconstruction/reconstruction of a person or perhaps an attempt to define a person using many varied perspectives. Is Anne a terrorist, a porn star, a mother, a suicide victim, a car? Maybe she’s all of the above?
Producer - Georgia Marett and Julia Clark
Director - Ben Sheen and Clemmie Williams
Stage Manager - Natasha King
Publicity Designer - Julia Robertson
Publicity Manager - Nick Felstead
Lighting Designer - Chris Uber
Sound Designer - Felicia King
Lighting Operator - Megan Redmond
Sound Operator - Jeanette Tong
Production Assistant - Cassandra Prigg
Auslan Consultant - Nupi Jaiswal
Greek Language Consultant - Niamh Vlahakis