BIRDFOXMONSTER

It’s hard to be critical when you’re invited to a theatre dinner where the food and service is great, and every plate, design and immersive theatricality is a very personal expression of the three performers.  Harder still when the three artists have an intellectual disability they invite you to ignore.

Sydney’s impressive driver of accessible arts, Studio A, and the usually epic, physical theatre company, Erth were commissioned by Carriageworks to produce one of these ten works by artists with a disability.

We share our darkened community table with, at each end, Meagan Pelham as an owl-masked bride and Skye Saxon as the Fox Priest adorned in big red hat, mask and gothic robe.  They occasionally dance and prowl along the long table; its white cloth is adorned with moving projections of animal and owl motifs, naive portraits and colourful calligraphy. 

These beautiful designs are also glazed onto our fine mud plates, created by Peelham.  And the three courses, including the immaculate makings of a mini-burger, are delicious.  Thom Roberts takes time out from being the be-robed, cube-masked Monster Train – who scarily is also the groom – to instruct us in burger assembly.

James Brown’s sound design is stirring and, beside the table near the swings, two screens feature abstractions and mythical faces from digital artist Elias Nohra.

The dramatic narrative and impact is muted – indeed mostly voiceless – and obscure. Yet the totality and industry of the experience is so sweet and inclusive, its hard not to leave that dinner in some wonder.  After, that is, we’ve all had to share doing the washing up.

Martin Portus

Photographer: Zan Wimberley.