The Revolutionists | The Curators
Nestled under the arm-pit of the Suncorp Stadium is a church; a figure of history, refusing to give way to modernity. We gather on the grass courtyard sipping bubbly wine and waiting to go inside to see the play. The strange mix of old and new - that unsettling skyline of glass and concrete - turned out to be exactly the right concoction to set the scene for this play: The Revolutionists by American playwright Lauren Gunderson.
The play is a comedy set in Paris during the late-1700s “reign of terror”. No “I Dreamed a Dream” here. It brings together four strong women based on history - a writer, a freedom fighter, a queen and an assassin. The writer, who happens to be women's rights advocate and abolitionist Olympe de Gouges, is searching for inspiration. She finds it, when into her midst comes Marianne Angelle, an amalgamation of the free revolutionists from Saint Domingue, an entitled but confused Marie Antoinette, and the heroic Charlotte Corday, on her way to assassinate Jean-Paul Marat and earn the nickname “the angel assassin”.
At first glance this all seems historical and far-away, but we are brought to the here and now through a comedic exploration of real and present themes: colonial oppression, women’s rights, and the intersectional beneficiaries (and lack thereof) of revolutionary movements.
Image: Naz Mulla.
The play is performed by a stellar all-female cast, who had the audience giggling and reacting out-loud to two hours of politically charged satire, soliloquy, and silliness. Lisa Hickey brought a frantic energy to Olympe de Gouges, which was a fascinating mix of aloofness and drive. Asabi Goodman is a powerhouse performer, and brought the strong willed Marianne Angelle to life. Amanda McErlean as Marie Antoinette was a hilarious mixture of Olivia Coleman from the film The Favourite and Chris Lilley’s Ja’mie King.
Each character has their own performance of a contemporary song by a female artist. These are fun, but seemed thrown in for entertainment. I wasn’t sure how necessary they were to the storytelling. Goodman, who performed first, is a talented and powerful vocalist. It was a bit of a let down when all who followed her did not match her vocality.
The costuming is brilliant, and beyond my expectations for independent theatre. All beautiful gowns, but slightly off with hilariously tacky elements; little reminders that this is history, but not a serious historical re-enactment. I enjoyed Olympe de Gouges head piece, which was a black feather headband. From a distance it looked like Einstein hair, which alluded to a frantic writer pulling their hair out.
Performed in traverse, the use of space made me aware of others in the audience, and aware that I was being watched too. This created a party-like atmosphere where we reacted together, and shared in experience. The gentle moments of audience interaction gave us a relationship to the characters and the play without distracting us with the fear of being pulled onto the stage.
The Revolutionists by The Curators is a fun night out, without being frivolous. It deals with issues of our time, makes links to history, and acknowledges the cyclical nature of movements and progress. It is a well executed production and I am excited to see what The Curators tackle next.
The Revolutionists plays until 26 March in Milton.
Image: Naz Mulla.
