The Time is Now

Presented as an ensemble piece in the style of La Boite's 2020 The Neighbourhood, The Time is Now is a 70-minute one-act show, with a cast of 10 young people aged 13 to 17, from a diverse mix of backgrounds: 8 young women and 2 young men. The show has been co-created with the cast by Ari Palani (director and producer and theatre maker), Aleea Monsour (Remembering Palestine, The Neighbourhood), Brisbane-based writer David Burton (St Mary's in Exile, How to be Happy), and developed with Melbourne-based All The Queens Men, a group that focuses on community, social justice, and creativity. The Time is Now is a shout out from these 10 bright young people about the issues that are important to them. All the cast are very warm and witty, and it is impossible to single any one out. All bravely put their own stories on show, which must have arced in the development process from daunting to empowering because these are strong performances with inexperience only peeking through sometimes in a lack of vocal strength to project to the full limits of the Roundhouse Theatre. Otherwise, there are no weak links here: Omalkire Akil Ahmed; Huda Akhlaki; Jessica Boyd; Joe Cranitch; Sophia Ferreira da Luz; Diali Kemp; Rachel Kennedy; Zander Pynenburg; Carys Walsh; and Fujia Sarah Xu all deserve accolades for their participation and performances.

The form is defined by speeches from the 10 individuals, each highlighting a personal priority for inclusion to fill gaps in the UN Convention on the Rights of the Child, which they point out has not been written with input from children. Rather than celebrate the fact that the 30-year-old international agreement exists to protect the rights of children, coming off as cynical and critical, the framing device is a teeny bit flawed because some of the requested rights, such as safety, freedom of expression, a world without racism or bullying, ARE actually covered in the Convention (if you look, for example, to Articles 2, 13 and 19). However, where the performing team adds value and fun is by suggesting other areas, such as the right to immaturity, to be allowed to call out B.S., to have a world full of ice-cream and kindness. This allows for some excellent performances from 10 very confident performers and orators, which makes for an enjoyable theatrical experience.

Each performance features a 'guest cameo' by a 'responsible adult'. For the show I saw, that was Debbie Richardson from marketing company, Three by 3. In her summation she articulated what I was thinking: that it was shocking that we have seen so little progress on important issues such as cyberbullying, and that so much anxiety and fear was a potential barrier to hopeful young adults. I felt depressed that these bright young people have so much to be depressed about – looking after their parents' mental health, overcoming child abuse, suicidal thoughts, putting up with bullying and sexualisation of their personas. And when the cast yell out their personal career aspirations, there are actors, dancers, a policewoman, but no teachers or politicians. Surprisingly, there are no positive inspirations mentioned from the world of music or art, but fortunately there is dance – and there is a joyous final dance number (with streamers and glitter!) to a sparky soundtrack courtesy of Sound Designer/Composer Tony Brumpton, who adds elements of TV documentary, educational program and hip hop to the various elements as the show progresses. This complements a simple but effective set design -– all grey chalkboard with colourful projections that the cast add to with scrawled coloured chalk – with video by Brooklyn Pace and lighting by Ben Hughes.

I'm not sure that, on the whole, young people's voices are "often overlooked" – and we know that all people (not just the younger demographic) feel disenchanted by the media monopoly and politics. But this group of performers are certainly refreshing and, in the style of The Neighbourhood, hearing each of their stories is interesting enough as an insight into our current community without the framing device. Participation is via La Boite's Young Artist Company, a program for high-school students that includes acting, live performance, and ensemble working. The Time is Now is a wonderful outcome for these participants and the experience on the Roundhouse Theatre mainstage is a natural stepping stone for these young people to build the confidence to get further involved in the arts, in Youth Parliament, in community and education activities – and whatever else they decide to do, including promising futures in performance, education or politics I'm sure.

Beth Keehn

Photos: Markus Ravik