Lies, Lies and Propaganda’s Roadkill Confidential

Having previously tackled Greek myths and self-devised theatre, Lies, Lies and Propaganda (LLP) have decided to tackle a completely scripted piece for their latest production, but I’m not sure it is the right vehicle to showcase their strengths, as individuals and as theatre-making collective. Sheila Callaghan’s Roadkill Confidential is the story of Trevor, a successful artist with a penchant for roadkill victims, whose latest work becomes a matter of national importance and the subject of a top-secret investigation when citizens start dying. While Callaghan’s play purports to ask the question ‘can art truly be dangerous, or is it only true when it is,’ it ultimately doesn’t quite reach the searing heights it sets out to investigate, and leaves us feeling left on the shoulder of the road one too many times.

Punked: Lies, Lies and Propaganda's Phaedra

In the Tap Gallery’s intimate Downstairs theatre, a table stands, laid for a banquet. A man sits at the table, hungrily stuffing his face with food, a headless deer lies in front of him, and four figures stand around the space statues. This is Euripides’ Phaedra, as told by Lies, Lies and Propaganda (henceforth LLP), one of Sydney’s newest independent theatre companies.

Phaedra is the story of a woman (Phaedra) who falls in love with her stepson Hippolytus, and the effect it has on the family and the way the gods intervene and clean up after the tragedy. Like all Greek tragedies, Phaedra is grandiose, epic, full-blooded and, well, tragic. In the hands of LLP’s artistic director Michael Dean, Euripides’ play becomes an examination of erotic shame, sacrifice, passion and synth-pop.