Review: Gaslight Sonata Burns Bright & Plays Loud In The Theatre Of The Absurd

Illawara-based Theatre Visage’s Gaslight Sonata originated as a 15-minute play called Sedition. This was inspired by the Australian liberal government’s introduction of sedition laws. Since then, the play has evolved into an absolutely eccentric commentary on our contemporary world. 

The absurdist dark comedy is directed and written by Steen. It follows an accumulating cast of characters as they navigate their place in the end of the world. 

The show begins with Female, played by Natesha Ham. Who is quickly followed by Male, played by Jonathon Nicola. Their compelling back-and-forth is disrupted, however, when a series of unwanted guests asks for entrance to their liminal bunker.

The first of these is the Priest played by the captivating Zachary Hanlon. The minimalist mise en scène allows Hanlon’s comedic talent to shine. Their incredible stage presence sways audiences from laughter to making genuine considerations of the relationship between religion and art. Not to mention that Priest’s spiel explaining and defending their Shakespearean religion is simply hilarious.

While the mise en scène is simple, it’d be wrong to diminish its creativity. The stage is lined with candles that are turned on by Male early into the show. The soft lighting adds to the foreboding paranoia that looms over the characters’ every word.

Steen’s fast-paced writing creates a sense of utter discombobulation. Characters use archaic language. They’ll seamlessly jump from Catholicism to Pokémon, and it’s all delivered in a manner that feels natural. The pacing leaves no time for you to wonder, ‘Did they really just say that?’ and it works.

This is what makes the play, despite its contemporary references, feel timeless. It creates a sense that what the audience is seeing is a concentrated version of reality and history spliced into one bunker. 

With each new character, the show redefines itself. In doing so, it offers audiences new questions on the state of our world. The addition of the characters Officer and Clown (played by Damon Bishop and Thomas Roberts, respectively) fit like puzzle pieces. They create a complete picture of what earlier scenes give a preview of. 

Male and Female contrast each other in a debate of naivety vs the hypercritical. As Priest enters the stage, this dynamic shifts in a new form as they argue over how the Shakespearean religion proposed by the priest fits into their understandings of freedom.

The Officer and Clown transition the show into its more serious, final act. After spending the beginning smiling at the musings of Male and Female, the final scenes hit hard. Debate becomes reality as Officer brings his authoritarian rulebook into action. 

Roberts’ acting in the last scenes is phenomenal. I felt my heart drop as the character screamed. I became uncomfortable as I realised I could no longer laugh, but reflect on reality.

Nudity is used sparingly to show the brutal reality of dehumanisation. In saying this, credit must be given to their intimacy coordinator, Nick Kilpatrick.

The version of Gaslight Sonata I saw was a preview. Therefore, technical factors such as lighting were still being tweaked. Yet even despite this, Gaslight Sonata says a lot. It’s an experience well worth going to see for yourself in its finalised form. 

Gaslight Sonata is presented by Theatre Visage and runs to 15 November at The Substation at Qtopia. 136 Oxford St, Darlinghurst NSW 2010.

Tickets: https://events.humanitix.com/gaslight-sonata/tickets 

Socials: https://www.instagram.com/theatrevisageco/

Images supplied.