A political firestorm is brewing as the Far Right and LP the Far Left clash in the incendiary new work from writer Van Badham and director Gary Abrahams. There is no shortage of satire in this political thriller, which is bombastic and loud and revolutionary and proud of it. Between them, Badham and Abrahams set about blowing things up and having a fat lot of fun along the way. Boy, have they succeeded, and how … by figuratively throwing the kitchen sink at Werewolf. It is fierce and ugly and frightening. It is a step off the deep end, devoid of limitations.
Just how far would one go in the name of a cause? All the way seems to be the answer by the neo-Nazis, who pontificate and prowl before pouncing, ultimately turning all into a vicious game. They are aided by the Left-leaning ABC and the Right-leaning Sky News, which hanker for a barney. Before this is over, blood will be spilt and no shortage of it. Most of the five characters in this hour 45-minute production without interval fill multiple roles, in which they don’t hold back. Passion and conviction are their stock in trade, just like the personas they inhabit. I speak of Ben Walter, Eddie Orton, Simon Corfield, Alexandra Aldrich and Michelle Perera.
The piece unfolds in a series of frenzied vignettes that conjoin and collide as the story evolves. Stevie (Orton) is a Far Right activist with a huge social media following. His extreme views have a platform on Sky News, courtesy of the shock jock style host (Corfield), who plays into his hands. A researcher who used to work for an ALP Senator, Jenny (Aldrich), is eloquent and sought by the media. That includes ABC producer and friend Mahla (Perera), who gets Jenny on national TV, locking horns with English-born political rival and one-time lover (Corfield).
From a good school, 26-year-old Nathan (Walter) has dropped out of university. On struggle street financially, he is highly involved in an independent radical journal, at the helm of which is sensitive neuroexpressive Britt (Corfield). Staunchly anti-Facist, Nathan has been brought up by a single mother (Perera), after his father left her 12 years ago, having “knocked up” his assistant. He has a prickly relationship with his older brother (Corfield), who works for Lockheed Martin, which Nathan claims weaponises capitalism. Nathan covets Jenny’s high media profile (he maintains she has sold out by becoming a centrist). He gets his chance when a Nazi sympathiser confronts Jenny and Nathan, who is at the scene, is set upon. But then everything goes pear shaped and Nathan bites off far more than he can chew, Stevie targeting him as easy prey.
The concept for Werewolf was born when Badham was researching her book QAnon And On: A Short and Shocking History of Internet Conspiracy Cults (released in 2021). She made many discoveries about modern extremists that were too crazy to detail in her tome. The story of a white power wolf cult gathering in the mountains for Facist rites made only two sentences. But its rituals were so outrageous and theatrical the imagery stayed with Badham. And then when news reports emerged of local neo-Nazis being similarly secretive, the woman who has spent her life in activist and political spaces couldn’t resist. Abrahams subsequently wrapped his head around the excess and destruction.
Locations for the play include rallies, meetings, home settings, TV studios and the forest, although the set itself looks remarkably like the forecourt of State Library Victoria. It has been daubed in graffiti, with rubbish liberally littering the ground. It is as wild as the play itself and the brainchild of set and costume designer Harry Gill, who has more than a few tricks up his sleeve in costuming too. Triumphant on both counts. Sound and lighting play a huge part in setting the mood and getting to the guts of the nastiness and fight. Daniel Nixon is responsible for the former and Sidney Younger the latter – a mighty effort by both. Not for the faint hearted, Werewolf is a howling success. It is independent theatre at its anarchic best – arresting and unforgettable.
It is playing at The Show Room at Arts Centre Melbourne until 26th October, as part of the Melbourne Fringe Festival. To book, go to https://www.artscentremelbourne.com.au/whats-on/2024/theatre/werewolf
Alex First
Other reviews you might enjoy:
- Banging Denmark (PIP Theatre) – theatre review
- Admissions (MTC) – theatre review
- Iphigenia in Splott (Red Stitch Theatre)
Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
