Wishbone, Scapegoat

Review in Issue 15-1 | Spring 2003

Scapegoat holds a particular intimacy, confronting the audience with white sliding screens which frame the action. Body parts become isolated and at times confused, as the narrative unfolds in lateral twists.

Two parallel stories unfold, centred on a young couple on a walking holiday. The stories develop into a series of dilemmas, there is a love affair, a car accident, backed by ironic quotes from the self-help writing of Maria. ‘Learn to empathise with your partner’s needs but do not become a slave to them!’

The couple meet with compromise, leading them to walk their separate ways, stumbling upon a garage owner, his alcoholic wife and a car mechanic. Great irony prevails, as Maria continually falls into a self-prophesying trap of preaching not practising her own messages for self-help. The clever twists of fate result in some hilarious, tender and yet tragic moments.

The clever set design and use of screens provide a unique frame, allowing the characters a zone within which to play. The imaginative transitions between scenes flowed with ease, creating a voyeuristic feel to the piece. Censorship continuously occurred as the scenes became visually fragmented due to parts of the action becoming concealed by the screens. This clever theatrical device allowed space for an alternative view, adding another interesting layer to the narrative.

The five main characters, played by the two performers, were very convincing as they slipped between genders, the characters evidently having undergone an intense period of development since the show premiered at CPT’s Sprint festival last year. The dynamic between the two performers highlighted the quality of the performance, which was perfectly timed, well-rehearsed and polished.

Presenting Artists
Presenting Venue
Date Seen
  1. Feb 2003

This article in the magazine

Issue 15-1
p. 26