The laugh time: Belvoir’s Is This Thing On?

Billed in the season book as a “kind of Don Quixote for the female comic,” Zoë Coombs Marr’s Is This Thing On? is the story of one woman’s journey as a stand-up comedian. As we follow her career from her awkward first gig to her mid-career crisis and her eventual comeback some years later, not only do we see a character and person grow, but we also see Coombs Marr’s skills as a writer become apparent, because Is This Thing On? is essentially five overlapping and intersecting comedy routines, performed by five different actors, in five different moments in time.

Death becomes them: Sydney Festival & Belvoir’s Oedipus Schmoedipus

A disclaimer in the Belvoir foyer warns patrons that “this production contains all the bells and whistles including the use of loud noises, graphic violence and loads and loads of blood.” While early reviews did not quite know what to make of this production, it is safe to say that none of it is ever truly serious. Especially not in the hands of collective theatre group post who “take being silly very seriously.”

Oedipus Schmoedipus is a smorgasbord of over the top deaths and an outrageous amount of stage blood (all within the first ten minutes of the show). There are deaths by gunshot, knives, long-sword, cutthroat razor, throat slitting, and bomb, while various appendages are lopped with relish and groans of barely-disguised enjoyment. After this opening barrage of deaths, the stage is cleaned in a ballet-like effort by the stage management team, and the curtain is pulled back to reveal The Volunteers, post’s (not-so) secret ingredient in their madcap shenanigans. What follows is a forum about death, delivered by Mish Grigor and Zoë Coombs Marr with occasional interjections from the volunteers who follow prompts on screens set in the lighting rig. One carefully chosen-at-random volunteer enters and dies – in this performance, she sits on the ground, coughs once, then lies on the floor, playing dead. “What is that?” asks Coombs Marr. “What is that? What is that?” Her disappointment is only short-lived, as she and Grigor pun and non-sequitur their way around the often-taboo subject of death, dying, carking it, falling off the perch, kicking the bucket, meeting their maker, and various other euphemisms. Underneath the anarchy, the coordinated (and sometimes choreographed) chaos and the uncooperative backdrops, is a poignant and often quite unexpectedly frank discussion of how we all know it’s coming, sooner or later, one way or another, but we have no idea how or when, so we might as well enjoy those presented on stage in the meantime.