Blunt instruments: Arts Radar & Griffin Independent’s Five Properties of Chainmale

Nicholas Hope’s Five Properties of Chainmale is described as a “confronting, uncomfortable and comical” examination of “modern man [as he] grapples with his crumbling reflection.” Despite the clumsy title, you could be forgiven for expecting a provocative and thought-provoking piece of theatre. What we get instead is clumsy, rather blunt, and dramaturgically confused, and never quite works out what it is trying to say.

Philomelagram: Montague Basement’s Procne & Tereus

I’m not normally one for the Greek tragedies. I don’t quite understand the validity and motivations behind the spate of recent modern adaptations of these stories or myths, especially the wider ethical and human ramifications of such stories when they are removed from their mythic settings. In his Director’s Notes, Saro Lusty-Cavallari discusses this very issue, asking “how do you tell this story? Why do you tell this story?” In trying to answer these questions, Lusty-Cavallari and his cast have created a piece of theatre which unfolds in degrees of increasing horror until it erupts in a revengeful rage.

Procne & Tereus is the debut production from new Sydney collective Montague Basement, and tells the story of Tereus who lusts after his wife’s sister Philomela. Unable to control himself, he brutally rapes and mutilates Philomela, hiding it from Procne, his wife, until the discovery reaps an unspeakably shocking revenge. As with other Greek tragedies, Procne and Tereus is by turns epic, human, full-blooded and, well, tragic. Where the story could have become garish or carnivalesque in another’s hands, Lusty-Cavallari keeps this production simple, clean and affecting, and it is all the more powerful for being so.