Set in the vast expanse of the Australian outback, Horizon emerges as a gripping theatre production that intertwines elements of thriller, drama, and social commentary. Conceived by playwright Maxine Mellor and presented by Playlab Theatre, this story delves deep into the psychological and emotional landscapes of its two characters, Sky and Cole.
Horizon follows the journey of a young couple driving to Cole's family home to say goodbye to his dying father. Cole, an aspiring filmmaker, and Sky, a successful lawyer, embark on what begins as a playful road trip that quickly transforms into a suspenseful drama. The discovery of an old cassette mixtape with a disturbing recording of teenage Cole unearths buried secrets and triggers a cascade of revelations. Cole's self-proclaimed "Mr. Nice Guy," façade crumbles, exposing his lack of true compassion and revealing a sinister, unhinged side that contrasts sharply with Sky's strong, feminist stance. As they debate the infamous Lindy Chamberlain case, encounter dingoes, and confront their own troubled pasts, the journey becomes increasingly tense. Sky must navigate Cole's unravelling psyche in this isolated setting, while coming to grips with the unsettling truth about her boyfriend.
An eerie soundscape fills the air as you settle into your seats, instantly immersing you in the tense atmosphere. The stage setup includes a classic Ford sedan on a revolving platform, flanked by two screens to project the road behind. The absence of glass in the car allows for fluidity for the actors' frequent entrances and exits through the car's openings. The performance begins with Cole and Sky engaging in a playful enactment of a zombie horror movie trailer. Maxine Mellor's script shifts between light-hearted humour and dark themes to capture the changing dynamics between the couple. Multiple times, the story halts as Cole or Sky climb onto the car to express their inner reflections in the style of slam poetry.
Ashlee Lollback and Julian Curtis deliver electrifying performances. The physical constraints of driving—the need to keep hands on the wheel and eyes on the road—require the actor in the driver's seat to convey a range of emotions through facial expressions alone. Julian Curtis brings an unsettling intensity to his performance. Characterised by Cole's habit of narrating situations as if they are movie trailers using a dramatic deep American voice, he adds a layer of dark humour that reveals his desire for control. Curtis adeptly portrays Cole's descent into mania, his smile morphing into a menacing snarl as Sky begins to question his emotional detachment from his father and possible violent tendencies. Bloodied from an accident and triggered by Sky's persistent 'cross-examination', Cole's physicality becomes increasingly alarming and intimidating. The pivotal scene where Cole forces Sky back into the car, speeding recklessly down a dark dirt road while hurling cruel insults, is a testament to Curtis' ability to evoke genuine fear and revulsion. Cole's delusions of romance are met with groans of discomfort and nervous laughter from the female audience members, highlighting the unsettling familiarity of his entitled behaviour.
Lollback's portrayal of Sky is multi-faceted, masterfully balancing the character's strength, vulnerability, and sharp intellect. The escalating suspicion and fear that Sky experiences are conveyed with gripping intensity, culminating in a dramatic confrontation that leaves the audience on the edge of their seats. As Cole’s true colours are revealed: entitled, desperate, and incapable of change, they contrast sharply with Sky’s evolving strength. Lollback's delivery of Sky's empowering "I am More" monologue is a poignant moment that deeply resonates. As a woman, I found myself deeply empathising with Sky's position, particularly as Cole's unsettling behaviour and emotional manipulation become increasingly apparent.
David Walters' lighting design, Nathan Sibthorpe's visual design, and Guy Webster's sound design are integral to the production's success. The projections of the road, which transition from clear lines to blurred ones as the sun sets, are used as a narrative device, transforming the stage into an ever-changing landscape that mirrors the characters' psychological disorientation. By utilising car lights and interior illumination, the car itself is transformed into a potent character within the play. The sound design is equally immersive, with a carefully curated mix of music and effects that heighten the tension.
Ian Lawson's direction of the play ensures a cohesive progression that builds suspense throughout. The scripted discussions are laden with subtext to offer more insight into their true emotions than their actions do. Memorable lines like "Sometimes all it takes is just a little shallow scratching to find the darkness in men" and "Shades of grey - I didn't say yes but I didn't say no" lingered with me long after the show. The character development is meticulously crafted, particularly in Cole's gradual transformation from a seemingly charming partner to a menacing presence, prompting the audience to constantly reevaluate their perception of him. Similarly, Sky's evolution from a confident professional seeking escape to a woman confronting her deepest fears is both empowering and heartbreaking.
The audience's reactions throughout the performance—from nods of recognition to audible gasps—are a testament to the play's gripping narrative and emotional depth. Horizon is more than a captivating theatrical performance; it is an experience that challenges the audience to confront the unsettling complexities of identity, relationships, and the darkness that lies within.
Horizon is playing at the Brisbane Powerhouse until 10 August. Tickets available here.
Wednesday 7 August 2pm offers a "Pay What You Wish" performance. To secure your spot, please register here.
Advisory: Recommended for ages 15 and above. Includes adult themes, coarse language, sexual references, and simulated violence.
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