War never truly ends; it simply changes hands. In this powerful, harrowing and unrelenting production by Boorloo playwright and director Evan Rickman, history folds in on itself as the past and present collide. Exploring complex questions of societal collapse, fear of the unknown, violence and self-preservation, this exciting new play blends traditional and contemporary theatre styles. Shifting seamlessly across time, the play becomes a haunting meditation on humanity’s inability to escape its own destructive patterns, leaving audiences to grapple with an unsettling question: is lasting peace ever possible?
So It Comes To Dust. Photography by Thomas Earnshaw.
Performed in the intimate Studio space at The Blue Room Theatre, an ensemble cast play army conscripts guarding an isolated checkpoint in the middle of a desert. Set in a post-apocalyptic, dystopian future, we meet four very different people forced into a war they don’t want to fight. Ben (Oliver Hughes) is the self-appointed leader of the group, an alpha male obsessed with guns, violence and dominance. In contrast, Charlie (Marshall Brown) is the group’s thoughtful beta, an intelligent young man whose knowledge of history offers a quieter perspective. Frida (Summer Rose Rule) is resilient and introspective, refusing to be intimidated by Ben’s aggression. While Sammie (Lukaz Perez) is the group’s queer clown, bringing much needed laughter amidst the tension. However, despite enduring microaggressions and transphobic abuse from Ben, Sammie’s story feels underexplored, leaving a compelling character without the depth they deserved.
The ensemble is completed by the enigmatic Watcher (John Shrimpton) and Waiter (Jo Wyndham), narrator-like figures inspired by traditional theatre forms such as Shakespeare and Commedia dell’arte. Wearing surreal masks, they haunt the stage like restless spirits, silently bearing witness to the soldiers’ suffering. They deliver strong physical and vocal performances giving the production an eerie, otherworldly quality, reinforcing the inescapable cycle of war and violence that permeates the play.
So It Comes To Dust. Photography by Thomas Earnshaw.
Finally, an honourable mention must go to the set and costume design by Ruby Trevor-Mills who has a distinct flare for epic, brutalist structures. Vast sheets of discoloured fabric are draped across the back wall, while two imposing structures resembling towering cliffs frame the stage. The surreal masks are captivating, featuring distorted faces, most likely inspired by traditional intercultural theatre forms such as Japanese Noh theatre and Chinese Opera, which create a dreamlike visual language that blurs the line between human and spirit realm.
So It Comes To Dust is a deeply evocative, ambitious new play featuring powerful performances by a strong ensemble cast. The story serves as a metaphor for the cycles of oppression, colonialism and war which are often in the hands of power-hungry men, leaving us to question whether peace is ever truly achievable.
So It Comes To Dust, presented by Reese Horne at The Blue Room Theatre from 28 Jul-15 Aug.