Review: Corvus

Corvus by Jasmine Chan

Directed & Designed by Kate Davis

Presented by The Rabble in association with Carriageworks

29 May 2007

Finally, finally, finally I have found a group of young Australian theatre makers who are pushing the boundaries of theatrical exploration. And I use the term 'theatre makers' quite deliberately to differentiate them from the more usual theatre collaborations.

It was through Alison Croggon's Theatre Notes that I first heard of this group, saying 'Sydneyites interested in bold new writing' should get to this production. But it is quite clear that it isn't just new bold writing that is on display.

Essentially this production is a monologue of poetic rantings from the self baptised character of Corvus - a name that originates from the Latin meaning 'crow'. It is the mythology that surrounds this symbol that provides the basis for this production and springs into a theatrical exploration of space, time, imagery and ritual. Think Greek Mythology, Apollo, Volpone, The Alphonso, Ted Hughes, John Fowles.

Entering the large and cathedral like theatre in Carriageworks, it is clear that this show is the first time that a company has created something specifically for the Carriageworks space. The balance and decoration of the stage, the lighting and the depth of movement make this a unique event that should be experienced within this theatre. From the moment you walk in, there is a manipulation of the eye and you quickly become aware of how vast the space is through the exposure of its industrial skeleton.

Like a wind-chime frame over the stage hangs a collection of gates, grills, metallic frames, window frames, prison beds. The immense size of it creates a cocoon for the audience, or more specifically, a kind of cage, from which we view the travellings and emotions of the raconteuse.

The writing is some of the most robust I have heard in a performance in this city. It is provocative and poetic and provides a stunning platform for the collaborators to create visual images that are so striking that you almost forget where you are, so dizzying is the look and feel of this piece.

At times the writing does envelop itself and loses certain ideas by being occasionally self-conscious. But as a text, it is throwing the gauntlet down. It is experimenting with the form of words through metaphor and ancient symbol and slamming them down upon a character's shoulders and allowing that character to breath a rhythm that can be at times shocking.

This theatrical rhythm is explored through one performer who makes her way from one station of the space to another. At each station, Corvus will deliver a piece of her monologue and will be accompanied by a subtle yet striking theatrical image through the use of the space, lighting and sound. She carries us on this raw emotional journey, at times talking to herself, talking to us, talking to her mother, talking to a priest and moving through the space in the most painstaking way.

I want to fly, full of lightness. To be a sparrow, a bluebird, a blackbird, a wren. Small and buoyant. Easy in the air. I want to move through stories, through the ages. I want to glide across the years. I want to peel the moments away from me like skins. To haunt the wings of the poet. I want to pepper the prayer book with whispers of love and dreams of love. I want to be a sparrow, a bluebird, a blackbird, a wren.

It is at its simplest a production that blends performance art with text. It is, at its most complex an exploration of individuality, sexuality, love, feminist identity, responsibility and expectation with the backdrop of man-made devastation and the original sin of Adam and Eve.

Dancing in the afterglow of the mushroom cloud. The crow moves with an unbearable weight—fashioned from all the world’s night—inside herself. The crow flies from nightmare to nightmare, infecting mythologies, polluting the transparent drop of rain, of flame. The crow flies sickly though black wave after black wave, the ocean floor concealed by oil.

But what stays with me the most from last night is the photographic type imagery that was created within the space. From the far reaches of the back wall and the experimentation of side and foot lighting, to the use of shadow, silhouette and the use of sound that at one moment is emotionally frightening. This production is pure theatre that has brought together the talents of some exciting individuals that are at the forefront of a theatrical exploration. It is brave, honest and passionate and a desperately needed influence in Sydney.

This production is on till Saturday. Go and see it.

Image credit: Brett Boardman