‘The Disorder’ is written by Catherine Bonny and is the debut production of Dagaz Productions for Fringe World. It is a novel piece of adult theatre presented by an up-and-coming Perth film and theatre company. Dagaz Productions is a collection of emerging writers, performers and film and theatre makers who met at Curtin University and all share a mutual passion for the integration of cinematic techniques and outstanding audio-visual effects into live, theatrical performance.
The 50-minute performance can be seen at Chrissie Parrott Arts space, 4 Sussex Street, Maylands nightly at 7.00 pm until Sunday 23rd February.
This is a very pleasant tiered seating venue, although it got very hot towards the end.
The walls are white, and there are several white flats which act as projection screens. The stage is the pine floor of this famous dancing school. There are a set of hospital screens, and an intensive care bed with drips and all of the other necessary equipment.
After sterilising her hands, the uncaring Dr Spack (Jasmine Holmes) enters the ward, and with clipboard in hand starts her survey. She is so typical of many senior management officials today, filled with self-importance and not listening to even the clearest comments being made. She begins her survey with the quiet, blood-covered cleaner (Erin Carter).
A brief film explains that there is a new plague facing the continent – Barnakism. We are warned how to spot the symptoms of this deadly disease.
Into the ward shuffles an old lady, Ma (Sophie Joske – excellent) accompanied by her two daughters. One is a caring woman, ‘A’ (Georgia Knox), who works hard to earn the huge fees demanded by this specialist, private hospital for her mother’s care. The other daughter, ‘B’ (Jessica Rawnsley), is a demanding, ungrateful nasty bit of stuff, who treats the staff like dirt.
This is a satirical drama demonstrating how the dollar rules even such essential items as hospital care and health in general.
The theme of the play is a fresh and interesting idea, but sadly the theme has not been developed nearly enough. The dialogue requires more work, and the pace is well off, but despite this you can see the immense talent lurking in the background. Being a writer / director is never a good idea unless you have a great deal of experience behind you. Connor Holmes’ musical soundscape was particularly good.
Some of the Fringe shows are taken to be an excuse to put forward a half-hearted lazy, thrown together show, but this is not the case here. The team has tried hard but needs guidance to develop.