Arts Centre presents NASSIM

Playwright Nassim Soleimanpour returns with NASSIM after the very successful run of White Rabbit Red Rabbit series, which globally had some exceptional actors take a leap of faith without rehearsal to perform before an audience alone. Translated to 25 languages, White Rabbit Red Rabbit had a unifying effect on all who embraced the performance, whether as the audience or the actor. NASSIM has a similarly unifying effect, and due to the nature of the performance, I cannot reveal the contents of the piece, but I can unpack its meaning and impact for those like myself who experienced it.

In this Melbourne run at Arts Centre taking place over 5 nights, a new actor will appear each show to perform Soleimanpour’s piece. The play straddles between the hype of its mystery and the pure communal joy for those who find themselves connecting with it. I myself did not know what to expect, other than the fact that an accomplished Australian actress, Alison Bell, would be arriving on stage on this particular evening without prior reading of the script, or a rehearsal. That in itself requires enormous trust between actor and audience. The audience must come armed with openness and faith in the actor, and the actor in turn must submit themselves to the experience in a way that strips them bare of ego or expectation – the only currency here is trust.

Language is the central feature of the piece, and its power to alienate and bring people together is what drives NASSIM. So much of what informs the piece is Soleimanpour as its writer; a man once forbidden from leaving his home country of Iran sets his writing free across the globe. A theme that pervades the piece is the need to connect across continent and time to a sense of place and home. Soleimanpour evokes memories within us all, memories that most of us share in common, no matter our origin.

NASSIM is heart-warming and unexpected. Bell herself was frequently blushing with emotions ranging from joy to amusement. Bell brought a playfulness and candour that suited the piece perfectly, and the audience went on the journey with her which provided a communal and fun-loving energy in the theatre. When the performance was over, my friend and I turned to each other brimming with something completely positive.

NASSIM is such a choice way of taking the novelty of first greetings and turning them into a bonding experience for audience, actor and playwright alike. I have no doubt that the coming performances will have a similar impact on their audience.

Arena Theatre presents TRAPPER

Arena Theatre has given consistently challenging and engaging works of theatre aimed at their 5 to 25 year-old market since their inception in 1966. The theatre company has constantly kept the issues of interest to youth in the present day in their focus, but what is particularly fantastic about Arena is that the appeal of their work goes beyond the specific age groups for whom they create, appeasing teenagers and their parents alike – or just charming your average theatre-goer.

Their latest creation, Trapper, is a futuristic and visually stunning set created from giant sculptural machines that light up and engage with the performers and their bodies. Designed by co-creator Jolyon James, with sound design and composition by Ania Reynolds and lighting design by Paul Lim (Additive), the stage ebbs and flows with the performers in an extraordinary and exhilarating manner.

From a selection of writings, the performers deliver a series of stories and segments that concern everything from our engagement with technology to the vastness of our capabilities and failings. Under the direction of co-creator of Christian Leavesley, the integration of the ‘trapping’ surrounds integrates so well with the profound topics discussed, and it is the human capacity to continue to exist (despite what we create that can destroy and expand our existence) that forms the underlying theme to Trapper.

Cleverly, the production appeals to its younger audiences as it takes us into the digital everyday life of a teenager – but the wit and whimsy of youth isn’t so far from adult engagement, as we are all reminded of our digital addictions. Once the younger members in the audience are enthralled, the piece continues to ascend to loftier places, with segment by segment asking larger and larger questions, ultimately reaffirming every individual’s place in the chaos of the world around. Thus Trapper artfully touches on an expansive set of topics with humour and poignancy.

Trapper is a thoroughly ambitious project, but Arena and their capable performers (Rachel Perks, Hamish Irvine, Daniel Schlusser and Naomi Rukavina) deliver with total vitality. The season was short, but hopefully this will not be its only one, so when it returns, take along anyone and everyone – Trapper is a journey of delight.