Back to Back Theatre
small metal objects
decemberdec 1
© Jeff Busby ©
© Jeff Busby ©
Tuesday december 1
00h
Direction Bruce Gladwin. Concept Bruce Gladwin, Simon Laherty, Sonia Teuben, Genevieve Morris and Jim Russell. With Simon Laherty and Brian Tilley (to be announced). Sound design and composition Hugh Covill. Costume design Shio Otani. General management, sound operation, production director Bao Ngouansavanh. Company manager Erin Watson. Touring producer Alice Fleming.
Developed with the support of Creative Victoria and funding from the Australian Government through the Australia Council, its advisory body for arts funding
Initiated by the Victoria Commissions, with support from the Government of Victoria, through the Community Support Fund
Back to Back Theatre is supported by the Australian Government through Creative Australia, its principal arts investment and advisory body; the Victorian Government through Creative Victoria; the City of Geelong and the Anthony Costa Foundation
With the support of the Australian Embassy in France
The Festival d’Automne à Paris is a producer of this performance.
With the support of the Embassy of Australia in France.
With the support of
At the crossroads between urban thriller, social satire and voyeuristic meditation, small metal objects plunges its performers into the perpetual movement of the public space. From within the heart of the crowd, the piece captures all the intensity of a personal drama.
The audience is in place, equipped with headphones and sat on a raised seating bank right in the middle of a continual flow of pedestrians, in the midst of one of Paris’s busy shopping areas. But where on earth are the performers that we can hear speaking to each other, via discreetly positioned microphones? After scanning the landscape for a few instants, our attention is brought to Gary and Steve and the ongoing drama being played out in the public space. Under normal circumstances, neither of them would attract our attention, except that here they are embroiled in the nocturnal story of two ambitious company directors, and that they have agreed to meet in relation with a transaction of some sort. As the relationship between them becomes clearer, small metal objects underlines the extent of our respective inequalities when faced with the little problems of daily life. The piece brings to light the harsh reality of the way in which neoliberal capitalism exploits and dehumanises so-called unproductive individuals, or those on the fringes of society, whether they are unemployed or disabled. With the hustle and bustle of Paris as a backdrop, the notion that everything has its price couldn’t be called into starker relief.
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