The State Theatre Company of South Australia will present a harrowing yet comedic look into the lives of regional Australians with 'Red Sky Morning'.
The play follows three voices that each tell a story of isolation living away from the big city, and the harm that can be caused from a lack of communication.
It is structured with three internal monologues, each one aiming to project the thoughts and feelings of its corresponding character. The play's director, Sarah Dunn, answers some questions about the piece.
Regional Australia faces many challenges, and its isolation means that urban Australians may not be aware of many of them; what are the challenges that the play identifies?
'Red Sky Morning' pays particular attention to insidious, systemic problems, like depression, addiction and societal expectations, and the further impacts when these things occur in an isolated environment. People in regional Australia are more likely to die of depression and more likely to consume alcohol at risky levels than people in urban environments, so while the challenges themselves are not unique, the frequency and severity of those challenges is notable.
Do you think rural Australians find it more difficult to connect with others?
I think the numbers prove that there is an added difficulty in surviving happily in a rural environment in Australia, and feeling connected to a community. Obviously there are fewer people to befriend than in the city, but also fewer employment opportunities and cultural events that also lead to connection and purpose.
Tom Holloway brought one of South Australia’s most iconic stories, 'Storm Boy', to the stage. How does this work compare to his previous works?
I think Tom Holloway has an interest in the ways in which we feel cut off from others, a kind of claustrophobia of isolation, and that seems to run through many of his works, but just as strong is an interest in love. He's a kind of melancholy romantic, and this work sits well inside of that attitude.
Image © Heath BrittonThe show was a product of Red Stitch’s in-house writers. How important do you think that this method of supporting writers is to creating innovative new Australian work?
I think that when writers can work with actors, facilitated by dramaturges and directors, it gives the writer a real fast-track into understanding how the play will work on stage. Actors are particularly intelligent creatures – their bodies, emotions and responses are incredibly informative about how plays function and what they do to audiences. When writers are good at listening to this dramaturgy from the floor, they can build much more elaborate works, I think, and works that have bolder effects on audiences.
Explain the innovative narrative structure of the play.
The play comprises of three monologues by M, W and G, a family, that are interwoven to create an almost musical piece. While the characters don't interact, they do speak about one another and share the same space, so there is a kind of pull between them, but the primary relationships are actually between each character and the audience.
Inner monologues can be a challenge to deliver. What techniques have you used to convey the emotions of the characters?
In a way the monologues aren't inner – they are spoken to the audience, and so understanding the relationship between the character and the audience is key. It creates a secondary layer, too – often, when Australians in particular, I think, speak about their emotions and failings and challenges, we have a jocular way of downplaying our feelings. I think that the act of covering something up draws attention to it even more keenly than being overt, so watching how the characters navigate the task of telling their stories to the audience can give you a lot of insight into their emotional states.
Image © Heath BrittonWhat has been your vision for the play?
For this play I have had a strong impulse to explore the way in which people tell stories about themselves. I have a bit of a theory that I'm developing that theme for directors is the same as mood for actors – it's a vital part of what we do, but focus on it too heavily and you'll end up being too heavy-handed. I have therefore been trying lately to have a lighter touch when it comes to what the play means, but be much more concerned with tone, and how the play feels to watch, and the journey of the audience. Tom has put a lot of humour into the play which I am also committed to honouring.
The play has won awards for best set and light design. What role do these elements play in the story-telling?
The narrative itself bobs along fairly well without much assistance – the feeling of the play, though, is the real story, and that's where the design elements (set, lighting, sound) come together to enrich the audience's understanding of the inner life of the characters.
The monologues are quite poetic; how important is intonation and rhythm in the delivery of the work?
The short answer is that it's very important, but it also isn't verse, so while the poetry of the verse informs how we understand the play, and how it's received, we also don't want it to feel like a recital; it's important that it is the poetry of the Australian dialect and the way we really speak that is on show.
