Reviews/Fringe World Festival/Multi-arts/Theatre

Flight and Coma: mind games in the dark

17 January 2022

Exquisite sound design is at the heart of two immersive theatre shows, with the potential to expand and manipulate the imagination. Claire Trolio takes the plunge twice in one night.

Flight and Coma, Realscape Productions in association with Darkfield

The Pleasure Garden (Flight), Perth Cultural Centre (Coma)

Friday, 14 January 2022

I’ve often wondered about what goes on inside those shipping container-shaped venues that appear each year at the Fringe World hubs. But with names like Seance, Eulogy, Flight and Coma, and the promise of a multi-sensory, communal experience in the dark, I’ve been too afraid to find out. 

This time, feeling brave, I signed up for the latter two of Darkfield’s four theatrical experiences, which have returned to Perth this Fringe World season.

Darkfield, a UK production company under artistic directors David Rosenberg and Glen Neath, partners with Amy Johnson and Nathan Alexander of Melbourne’s Realscape Productions to present the shows in Australia. Their modus operandi is to invite a bundle of intrepid visitors into a custom-made shipping container and turn out the lights. Physically you’re safe and secure (although you might be in for a bumpy ride) but mentally… well that depends.

Upon entering one of the white shipping containers in the Pleasure Garden, you’re instantly transported into the economy class cabin of a commercial aircraft. This is Flight. It is, quite frankly, a perfect recreation of the aircraft cabin, not just because they have installed real airline seats, but it’s also the same poky aisle, being herded through in single file, the lights, screens, and the unmistakable ding of the “fasten seatbelt” sign.

An image from Fringe World's 2022 sensory experience FLIGHT of the articles review of FLIGHT and COMA. Pictured is three individuals sitting in airplane seats. The plane is flooded with blue, and each person has a bulky set of headphones on and have a distressed look on their faces.
The ‘Flight’ experience may cause participants to question what is real. Photo: Realscape Productions

Participants put on a set of binaural headphones and, literally and metaphorically, buckle up. When the lights go out, leaving the room in utter darkness, this sensory deprivation opens up the opportunity for your mind to be manipulated. What’s offered through the headphones and movement of the chairs are two different realities, and come to think of it, I’m not quite sure where I ended up. I love that. In Flight we are all Schrödinger’s cat, simultaneously dead and alive.

After skipping across Northbridge to the Perth Cultural Centre, I entered another shipping container for Coma, this time finding myself within the stark, clinical setting of a psychiatric ward. With bunk beds lining the walls from floor to ceiling, participants must choose a bed and lie down. Through the headphones this time was a steady voice guiding our imaginations, which combined with occasional olfactory stimulus.

Coma is an exploration in suggestibility and collective consciousness. On one hand you’re all alone – there’s no interaction whatsoever with other people – but you’re acutely aware of others around you sharing the experience. It’s largely a result of the audio, which invites you to recreate in your mind the room and the other bodies within it. The terrible effectiveness of the binaural sound gives the impression of a tangible presence right there with you.

Unfortunately, despite these clever devices and total immersion, my mind didn’t enter the narrative in Coma the way it did for Flight. I appreciated the performance for its technical mastery but not for its emotive content. On the other hand, my friend stumbled out of the space reeling from the psychological experience. “I can’t say I really enjoyed that,” she admitted. “My brain completely went for that terrifying scenario.” She got it, I didn’t.

In both Flight and Coma, the sound design is transcendent and the set design transportive. Attention to detail makes these experiences all encompassing.

I found it a treat to be immersed in a piece of theatre in a truly passive way. I’ll be handing my body over to the Darkfield crew again. After all, it wasn’t curiosity that killed Schrödinger’s cat.

Flight, Coma and Darkfield’s other experiences, Seance and Eulogy, continue until 13 February

For the latest news and reviews, subscribe to Seesaw’s fortnightly free e-magazine here.

Pictured top: The Coma experience. Photo by Mihaela Bodlovic

Like what you're reading? Support Seesaw.

Author —
Claire Trolio

Claire Trolio completed a Bachelor of Arts (Hons) and a Bachelor of Laws (Hons) at UWA. She writes about Western Australia for various digital and print media and owns a shop with her sister. For her, the spider swing is the ultimate in playground fun.

Past Articles

  • Toast retains its crunch

    Despite last minute cast changes, Liz Newell’s Toast continues to shine in its second season, writes Claire Trolio.

  • Barking Gecko shines with child-like wonder

    Barking Gecko gets the balance just right in its latest production – a delightful daydream that brings out the child in us all, writes Claire Trolio.

Read Next

  • MC_Freakley_For You, Danielle Freakley, detail: For You, 2019-2022. Volcanic rock, water clear polyurethane, ink. Dimensions variable. Danielle Freakley's 'For You' looks like a crashing wave made of glass. Danielle Freakley peels back the layers

    Danielle Freakley peels back the layers

    18 May 2022

    A local artist with an international reputation, Danielle Freakley seems driven by a desire to find out what we really want to say to each other. And ahead of her exhibition at Moore Contemporary, she tells Nina Levy what she really wants to say.

    Reading time • 10 minutesVisual Art
  • Reading time • 5 minutesMusic
  • Barney McAll WAAPA Jazz in the Theatre series. A bearded man at the piano looks toward fellow musicians who are playing a keyboard and harp. WAAPA serves up a slice of NYC jazz

    WAAPA serves up a slice of NYC jazz

    9 May 2022

    In a retrospective performance, jazz virtuoso Barney McAll draws on the traditions of his genre while pointing the way to the future, writes Garry Lee

    Reading time • 5 minutesMusic

Cleaver Street Studio

Cleaver Street Studio

Cleaver Street Studio