Do you agree or disagree with reviewer's comments?
ENTERING the theatre, everyone was asked to put on a mask, wear a "neural demodulator with delicate circuitry" and lie on the floor -- and that was only in the first few minutes. There's more, but it's enough to say that everyone is put on notice.
All spectators of this ambitious sci-fi-cum-computer-game-psycho-drama that is riddled with the seductive rhythm of exotic techno speak are active agents in this cyberspecial tease that is laced with a firm twist of evil.
As the audience engage with the war-mongering rantings of the combative warrior crew, the borders between a virtual plane and reality crumble.
Movement supersedes text in the telling of this story promenade, physical theatre style. The talented ensemble of Mercury (Carla Rees), Shockwave (Dave Sleswick), Mantra (Rob Thwaites) and Hunter (Katrina Cornwell) are a close-knit, compelling avatar team decked out in fabulous futuristic fighting gear.
Shockwave's Rasta plaits hang among a forest of electrical wires. The crowd are shunted here and there relentlessly, by black capped security guards, becoming increasingly disoriented as they tramp up and down stairwells or trundle through curtained corridors disguised by lurid lighting. It's confronting, claustrophobic. There's nowhere to hide.
The plot is simple. A group of people immerse themselves in a new computer game but the game engine has assumed human intelligence and with it a capacity for extreme violence.
The "ethical restraints guard" has been overridden and an earnest hacker grapples with how to get the people "zoned out" before they are zapped.
Something is seriously amiss in the mainframe.
The sets are spartan, the most striking a jumble of cardboard boxes that judder in sync with the moves of the psycho nasties they contain. With overtones of the cyberpunk legacy of the Tron, Alien and Bladerunner movies, this theatrical vehicle reveals lovely moments of whimsy and is pitched against a score infused with delicious electronic gloops and crackling. The drama is at its best when the posturing cast demand "activation of the stealth mode" or they involve a simpatico audience enthusiast in covert operations, but it does get bogged down.
Director Simon Wood's confection is often ingenious but that doesn't excuse taking too long to reach an ultimate destination. As one youngster yelled when the words "game not over" are screened after a prolonged spell in virtual catastrophe, "you gotta be kidding". Enough is enough.
By Gillian Bramley-Moore
Image - The Courier-Mail
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"A dance between celebrating and critiquing computer game culture. The challenge of representing computer games in the 'real' world has been met with a production that takes the concept of immersion literally. Zen Zen Zo has created a show oozing with enthusiasm and excitement, and created much anticipation for the restaging" Danni Zuvela (Real Time).
Dear Editor
I have recently read your opinion on the Zen Zen Zo Theatre performance ‘Sub Con Warrior 2.0’ in the Courier Mail, and felt obliged to write in and express my opinion on the issue.
Firstly id like to ask where it was you got your information about people not enjoying the movement throughout the theatre into different locations. For I believe that it was advertised by the Theatre company that it was in fact a PHYSICAL THEATRE PRODUCTION. This means that you are more than likely to be moved around during the performance, it is clear that you are aware of this concept of theatre as you have stated it in your article.
In a change of state of mind I must agree with you that the most enjoyable part of the play was the involvement that was led by the actors, in following them in stealth mode. This was a great feeling for young and old in the audience, and it was a great way of bring the audience closer together.
Also yes would agree that the ending of the play was very dragged on, I believe your use of audience quotation was much out of place. Instead of focusing on the negative, once off reaction of the audience maybe you should have taken in the reaction of enjoyment by all, through laughed and smiles, which I experienced during my visit to the play.
Overall I believe your accusation about this play are far from the truth and if you intend on using quotes from the audience make sure you allow more than one opinion of the play.
Thank you for your time
Yours Sincerely
Naomi McCracken
Dear Editor of the courier mail,
After reading the review of Zen Zen zo’s performance Sub-con warrior 2.0 by Gillian Bramley-Moore titled “Game on … and on, and on”. I have decided to respond in this manner as to tell you that I agree with Gillian in some aspects such as the last fight scene did stretch on a bit. I would also like to point out that my year 11 and the year 12 Drama class from school went to see this performance and that is mainly the only thing that we found wrong with this performance. I also disagree with her in the arrangement of the rooms she says they were “Spartan, the most striking a jumble of cardboard boxes.” I do believe this was the best room but purely because of the way it was set out. The arrangement of the rooms and the use of space to me were delightful I have never been so enthused about a production. I also enjoyed the way the director Simon woods imagined the way that the characters would be dressed, and also on the way he chose the set design to create the atmosphere needed for that particular scene. Such As when we entered the psycho killer room is was very affective to have the table and visual aids (televisions) in the centre of the room so that we would sit around them. I must commend the actors on a wonderful performance because without them this physical theatre production would not be as wonderful as it was. The way that they stayed in character no matter what happened or what we did to try and distract them, these ladies and gents are very passionate about their work and did a fantastic job. All in all I found this production wonderful to watch and be a part of and I am sure that many people would to, it is exciting and has a lot of suspense because you never know what will happen next.
Thank you for your time spent to read this email.
Regards Kaitlyn Burnett
Editor of the Courier Mail,
I’m writing this email in response to the article, “Game on … and on, and on”, a review of Zen Zen Zo Theater company’s production of Sub Con Warrior 2.0 by Gillian Bramley-Moore which was shown in last Wednesday the 23rd’s paper. As a regular theater viewer myself, a few friends and I decided to see the performance to ourselves. After seeing the production, I found that I disagreed with Bramley-Moore’s negative outlook on the entire experience, but found that she did make some excellent points.
Sub-Con Warrior started off brilliantly; with the actors in full swing by the time we walked in the doors to be presented with our ‘neutral demodulator’ and security pass with our very own “warrior name”. Credit goes to the brilliant cast who never once put a foot wrong with their clever use of repetition and stance clearly emulating that of a video game avatar. After our experience being ‘initialized into the game’, everything started off immediately, with a demonstration of our virtual companions’ combat skills.
With our eventual guide’s appearance, alerting us to the potential danger when the game’s “ethical restraints guard” is over-ridden, the entire audience is sent on a spiraling quest to find a way out of the virtual dimension. Unfortunately, after the promising start, the ending sequence lets the entire performance down. After the initial gusto of being chased by a chainsaw wielding mad-man and rabid zombies, the thrill of adventure was lost when the final fight sequences seemed to go for an eternity. With the restless audience eager for the final blow to be struck, they turned on the game’s heroes instead, with one young man in our group yelling out “Ice her!” when the virtual game pieces were presented with the problem of killing their human creator.
Overall, Zen Zen Zo Theater Company’s presentation of Sub Con Warrior 2.0, set a cracking pace which in the finality, even they could not maintain. Though it was an enjoyable experience, the moments of poignant clarity, obviously meant to convey some sort of ethical message where over shadowed by the distinct undercurrent of the fatigued pace of the final half hour. Obvious improvement could be made with heavy handed editing of the script’s final pages. Thank you for your time.
Regards
Ashlei J
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