The Null Device
This evening, I went down to a grimy, industrial, as yet ungentrified part
of North Melbourne to see the most recent Theatre In Decay performance,
All Dressed Up And No-One To Blow. It started off with what sounded
like a Marilyn Manson cover of Tears For Fears' Shout (or perhaps it
was the original, given its ominous edge by the ambience of the subterranean
concrete vault the play was held in), which faded out to what sounded like
circus music played on a drum machine and wavetable synth by someone who
listened to a lot of Sisters Of Mercy. The play itself was not bad
(it had gangs of psychotic clowns running around Luna Park, indulging in
a spot of the old ultra-violence, with a bit of a Clockwork Orange
influence evident), except
that the violent, scatological nihilism seemed a bit on the adolescent side
(one can imagine some 18-year-old goth kid coming along to this, seeing
it and thinking "wow! clowns sodomising each other and setting people on fire!
that's sooo dark and fucked up! kick arse!"). Then again, given that it was
set in St Kilda (which is now a yuppie playground, and not the seedy
underbelly it was some years ago) suggests that it may have been written
some years ago.
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