Tripod with the Adelaide Symphony Orchestra: This Gaming Life

This reviewer considers himself a long-time Tripod enthusiast, but has also been a long-time non-gamer since about the age of 12 when the family Amiga 500 computer console both broke down and was rendered obsolete (whichever came first). The Tripod fan elected to see this new show, in the hope that it could deliver engaging entertainment and hilarious humour for someone who does not currently lead a gaming life.

Yon, Gatesy, and Scod seem to be in a curious position with regards to this latest show, as it presents three men known for their offbeat and quirky perspective on popular culture and current affairs, famed for sharp parodies and witty wordplay presented via acoustic guitars, now backed by a full orchestra. The beer garden and radio booth has become the concert hall, while pub casual wear is now resplendent white tie.

Tripod are certainly thinking big and grand in terms of their presentation, but by choosing this particular theme and sticking to it for the better part of 90 minutes, it is this reviewer's opinion that they have chosen to put limits on their appeal in a way that is disappointing and disconcerting. Perhaps those limits can, in fact, accommodate a full house at the Festival Theatre and more besides, but This Gaming Life still feels like a cult show that non-cultists needn't bother with.

Admittedly, a number of the trio's original songs here are intelligent and perceptive enough about their chosen subject (and the potential perils of it) for pretty much anyone to appreciate them. Scod presents a soliloquy that is intriguing and revealing of the mathematical appeal inherent in World of Warcraft and other games like it; Tripod also present a pointed depiction of the response to real danger versus game danger.

There are moments that attempt to strike a universal emotional chord, but while Gatesy's evocation of game arcades from the past will stir many members of a certain generation to pleasurably reminisce, further attempts at mining poignancy and depth did not succeed at melting this reviewer's heart. Black comedy was provided by way of Yon's obsession for games with guns, a trait that doesn't take long to turn tedious.

The classical musicians of the Adelaide Symphony Orchestra deserve credit not only for adapting to an unusual format, but for keeping their composure throughout the humorous moments - which were present, but not exactly plentiful. It feels telling that the most rib-tickling gag on offer for this reviewer was an uproarious insult from Yon to Scod, one that had no direct connection to the theme of gaming.

'Traditional Tripod' is, in fact, delivered towards the end of this show for those who want it - and without needing to abandon their continuing theme - in the form of a delightful ditty concerning technical troubles on the road. Signing off on a musical and dramatic high point also goes a long way toward leaving a positive impression of This Gaming Life - but not quite far enough.

Lighting effects are nicely achieved and the orchestra certainly looks pretty in formation, but the visual component is still not as strong as it should be for a 90-minute show - with the exception of Scod's appropriately gaudy and regal 'guitar god' spotlight. The total absence of any direct visual representation of the computer game aesthetic is a curious omission, but the trio evidently thought it would be funnier to stage a consciously low-tech recreation wearing Halloween-style costumes.

During the days of ‘song in an hour’, Tripod used to be amongst the most democratic of comedy/musical acts, in the sense that their pub audiences could bring a variety of interests to a show and feel confident that a lively, unpredictable melting pot of a presentation would ensue. This refreshing sense of inclusivity is no longer the same; Tripod’s talent is richer, and their potential audience surely broader, than a show like This Gaming Life can encompass.

Artistic evolution is, in theory, both welcome and necessary, but have these rebels-by-nature joined the establishment, or have they subverted it? Is it possible that this unsatisfying new show simply finds Tripod trapped in limbo?

Anthony Vawser