Perth Festival review: Cat Hope, Speechless ⋅
Sunset Heritage Precinct, February 28 ⋅
Review by Laura Biemmi ⋅
So often, words fail us. The tragedies of our time can leave us stricken, without words, struggling to comprehend the state-sanctioned monstrosities before us. Australian society has a lot to answer for, points out Cat Hope in the program notes for her new opera, Speechless. She highlights the Australian government’s inhumane treatment of asylum seekers, its lack of respect for our Indigenous communities, and its inability to recognise the plight of women in Australia, lamenting that ‘these are groups who, as a result of being spoken for by others, are left without a voice.’
Hope’s response to these crises that plague our nation was to create an opera which received its premiere at the Perth Festival this week.
Visually, Speechless was inescapably captivating. The audience were placed in curved rows around the oval performance space, giving the uncomfortable impression of spectatorship, as if watching a football game. Thick strips of fabric dangling from the ceiling, reminiscent of bar-graphs detailing horrific statistics, were pulled down and tightly wrapped around the principal performers, the set itself becoming an oppressive actor on stage. Matthew Adey’s lighting design included pole-like lights suspended from the ceiling to just above the floor, acting as both structural guideposts for the actions of the performers and as physical accompaniments to the Australian Bass Orchestra. In one particularly striking display in the third act, the red lights overhead drifted glacially from the back of the space near the orchestra, to the front of the room, menacing in its hue and bathing all in its light.
Stripped of their words, the performers onstage connected with their audience in a more visceral manner. Sage Pbbbt was compelling in her guttural cries and wordless gasps; Karina Utomo’s aria of screams was deeply moving; the percussive vocalisations of Caitlin Cassidy were equally virtuosic and unearthly in their execution, and the mourning that pervaded the beauty of Judith Dodsworth’s voice was only enhanced by the lack of text. Such vocalisations were deeply moving, and were felt on a level I had never experienced before in a concert setting. The choir, made up of members from five separate community choirs, were effective in their role as ‘citizen’s commentary’, drifting through the space and connecting (or not) with the principal performers. However, I felt there was space in the opera for the choir to have a more prominent role as the members of Australian society. Some ‘numbers’ involving the principal performers began to feel familiar towards the end of the work.
Much like the performers onstage, the Australian Bass Orchestra communicated with their listeners in a more bodily fashion. The notes from the bass orchestra–consisting of low winds, brass, strings, electronics and percussion–could be felt reverberating through the feet of the audience, settling uncomfortably in the stomach. However, such a human, bodily effect was juxtaposed harshly with moments of metallic, mechanical rage, particularly in one intense moment scored for ‘rock band’ and strobe lighting. This clash between bodily and mechanical elements served to remind audiences of the inter-relatedness of the two; the horrors of our time might be systemic and seemingly untouchable, but they are essentially man-made.
Such bodily reactions to Speechless, are important. Hope drew inspiration for the opera from the 2014 Human Rights Commission Report The Forgotten Children: National Enquiry into Children in Immigration Detention. Reports such as these filled with clinical figures of statistics and descriptions of conditions have not been effective at ending our current stance on asylum seekers, nor on any social issue plaguing Australia. Connecting on a level that surpasses pure intellect might be the next best option. Speechless was overwhelming; an experience so forcefully immersive, it was impossible to ignore. And that’s exactly what Australian society needs to experience.
Picture top: Karina Utomo’s aria of screams. Photo Toni Wilkinson
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