Mara KORPER
In one sentence: a sci-fi play with songs about a diligent but dangerously curious worker who accidentally uncovers a corrupt governmental regime, and must ascend its highest ranks in order to dismantle a bureaucracy of lies and liberate the people.
How did it come about?
This show was a long time in the making. It had many versions and was still morphing quite significantly in response to the venue requirements as a result of the ongoing pandemic, lockdowns and public gathering rules. To proceed in 2021, we presented the work in what Theatreworks called ‘Glasshouse’ - about 12 Perspex boxes with seats in them, arranged in the round, for the audience. This set up changed how I approached directing MK and also influenced a redraft that allowed me to lean in to the set up. It was a rather sci-fi look after all and to me suggested that a Brechtian approach was necessary to work with the extreme visibility the set up created (with audiences in clear Perspex boxes, there was nowhere to hide anything - sets, costumes, props, entrances or exits).
This show has an extensive backstory that took the better part of 5-6 years to create from a writing perspective. The key to cracking the script came when I used archetypes to anchor the characters’ objectives and obstacles. Also, once the role of music in the show was determined (only occurring diegetically), that helped to clarify the form: a play with songs.
The world building from a directorial perspective was a layered process of using bespoke exercises created in CT training sessions of the years. Coupled with Brechtian materialist feminist approaches and a rather Shakespearean styled text, the playing style that emerged was heightened, playful, richly layered and very true to the world I imagined.
MK was highly ambitious and I would love to see it come to life again for a longer run with more fully realised production values — or on the screen! I learnt a lot about the role of audience expectation versus political agenda - as a writer I wanted to leave the ending open so the audience could decide what they thought should or could happen to the lead characters. This felt important from a feminist perspective, to not be didactic and also not tell the audience what they should take away. But I now realise that this lack of a plot-based ending, after they had been on such a journey, was likely an issue. Rob Reid provided a really well considered review that engaged with this respectfully. I have since revised the ending that I feel offers a satisfying plot-based conclusion, whilst honouring my feminist dramaturgical intentions.
“One of the most bizarre and compelling dystopias ever to take the stage” — Cameron Woodhead, The Age
Show info
Premiered May 2021 at Theatre Works
Writer & Director: Jayde Kirchert
Composer: Anthony Lyons
Associate Music Director: Imogen Cygler
Lead Designer: Stu Brown
Costume Designer: Aislinn Naughton
Lighting Designer: Clare Springett
Stage Manager: Teri Steer
Associate Producer & Assistant Director: Steph Clare-Cover
Theatre Works Intern Associate: Kate Speakman
Cast: Jordan Barr, Emily Carr, Kayla Hamill, Asha Khamis, Erin McIntosh, Freya Pragt, Ursula Searle, Shamita Sivabalan.
See more images, videos and info via the Citizen Theatre website.
Image credits Stu Brown
