Review: Into The Light
Picture: Into the Light ‘insta-worthy’ filtered makeup. Image Credit: Creative Futures Photography.
Into the Light is an immersive physical theatre and dance work that is a provocation about the impact of consumerism, technology and social media. Members of the D.I.V.E. Collective have created a thought-provoking, and occasionally confronting, work of physical theatre that might equally be described as a piece of performance art.
The Paint Factory is a wonderful ‘theatre’ in which to place this show; audience members are led into a darkened empty factory, before walking upstairs into a dystopian space. The three performing artists (Daniela Lavorenti, Mary Eggleston, and Megan O’Hare) await, spread across and also hanging above the area, while a single moving eye looks down from an electronic screen. Lights are low, with clearly-placed bars of brightly-coloured light, screen-like picture frames, and small podiums that each feature a toilet seat cover.
And thus we were immediately watched, watching, and completely immersed within the show—just as so many people now live their lives watching, tracked, and posted in the digital world. Together, Cesar Genaro (Director), Priscila Da Cunha (Creative Producer), the performers and members of the D.I.V.E. Collective have created an impressive work that calls upon audiences to question why ‘we are willing’ to live our lives in this way.
D.I.V.E Collective’s promotional information describes the work as inspired by Plato’s Allegory of the Cave and Greek mythology—here following the journey of three allegorical characters who are lured in and out of their cyber cave by the great goddess Google. And what a memorable journey it is.
Picture: Mesmerised by the light. Image Credit: Creative Futures Photography.
Picture: Unfiltered makeup. Image Credit: Creative Futures Photography.
Picture: Running to stand still? Image Credit: Creative Futures Photography.
Into the Light is a closely-observed critique of contemporary life, questioning why so many prefer screen-time to making space for ‘sky, sea’ and air’ in their lives. I loved the various references to the prevalence of the device/phone (even when using the toilet), to consumer desires for ‘more stuff,’ and to the offshoring of rubbish (‘you send it offshore to look on it no more’). And the contemporary allusions to film and music were entertaining and apt—including the description of a phone or device as ‘my precious’ (a lovely Lord of the Rings reference) and the musical repurposing to ‘I love the way you scroll.’
There were so many memorable moments in Into the Light—from the synchronised screen-watching dance moves and ‘makeup’ piece (what do we really look like without those filters?!) through to the use of the tin-can telephone and plaintive cry of ‘Why don’t you answer me? Don’t leave me here alone.’ All of which means that I strongly recommend Into the Light. Great costumes, excellent soundscape, outstanding performances, and a beautifully-crafted work all contribute to produce an exceptional experience.
Verdict: Into the Light is an exceptional, thought-provoking, occasionally confronting, work of physical theatre that might equally be described as a piece of performance art.
Picture: A moment that may make audiences question whether we care, or just take photographs. Image Credit: Creative Futures Photography.
Audience tip: Into the Light (19-20 May, 2023), The Paint Factory, Yeronga. 60 minutes (no interval). No warnings, all ages (I suggest 15+), death/suicide references, access via stairs, low level lighting, and audience members are invited to move within the performance space (very limited seating). Tickets $35 (general admission). Free street parking available.
The reviewer attended the Anywhere Festival Closing weekend performance (7:30pm, Friday 19 May, 2023)