Welcome To My Cuntry
Things we loved
- Interesting mythology
- Some gifted dialogue
- Creative array of characters
- Some memorable moments indeed
Things we would reconsider
- Would love to see a little consolidation of the scenes to give stronger focus to the 2-3 strong and important concepts
- A tighter approach to cues would really help capture and maintain energy
Some people spend their lives, fumbling in the dark, feeling for cuntry, and when they find it, they discover how unprepared they are for its mysteries.
So too, the hapless theatre goer who steps into Welcome To My Cuntry: There’s No One Here So Come On In, if they are in any way unprepared for the kaleidoscopic array of tableaux and thought awaiting them.
If you are used to seeing a range of theatre from absurdist plays to dance to drama, and if you like listening to podcasts and audiobooks on high speed, you will be ready to “do the work” required of you as an audience member.
In this production, ideas flow thick and fast, genres and styles changes, and narrative threads are woven roughshod before your eyes, with the deftness one observes from the Aboriginal basket weavers in Alice Springs (home town of this creative ensemble).
Welcome To My Cuntry: Keep up the pace
I really want to see this play succeed.
Firstly, it does hit the G-spot (G for genius) on a number of occasions. Most notably, some moments of philosophical pondering, pointed teasing between the radio announcers, and a high priestess checking scripture with god on the telephone.
It also has some dense material that deserves even further kneading and forming, in particular, Kate’s scene with her psychiatrist, her discussion with Einstein, and the story of the goddess Kor and her daughter Ka (illuminating indeed).
As the cues become tighter over the season, and the seasons to follow, this production will flourish with sustained energy and engagement.
For now, Kate’s Cuntry is awaiting the curious and the brave.