Theatre / The Chosen Vessel, written by Dylan Van Den Berg after a short story by Barbara Baynton, directed by Abbie-lee Lewis. At The Street Theatre until August 24. Reviewed by JOE WOODWARD.

When thinking of psychological depth related to culture, history and our personal responses to such notions, we tend to favour the great Russian writers such as Dostoevsky or Turgenev.

While being attracted to more narcissistic style dramas of personal angst, often done with poetic intensity, we as audiences very rarely get to witness works of complex characters within a seemingly threatening human-constructed universe that cannot be romanticised or sanitised.

Barbara Baynton’s original short story was almost an antidote for the romantic Bush Realism works of the 1890s. Van Den Berg’s adaptation of this work into a compelling new dramatic performance progresses the new genre of Aboriginal Gothic. Of this, Van Den Berg says in the program: “Haunting of Country is a mechanism for truth-telling, a way for the past to assert itself when it has been denied.”

Dylan Van Den Berg has provided a long overdue exploration into a new dimension in Australian theatrical form; a form that opens up the full dimensions of Dostoevsky’s human realms within cultural parameters that defy artistic traditions. Australia has been waiting for Van Den Berg for a long time!

Van Den Berg’s use of mythic spiritual referencing and the direct relationship with the spaces occupied by real people sets the genre apart from Magic Realism that has been the hallmark of so much Latin American writing.

He actually empowers the inhabitants of these spaces with connection to the past, present and the future. While presenting bleak experiences, there is still an affirmation of spirit that lingers and may be offered to those beyond the dead; to us as spectators and complicit in both the stage action and in real life. This is in no small part due to the exploration of a distinct form which Van Den Berg is elaborating.

To bring this about requires collaboration at the deepest level. The Street Theatre itself must be credited with its investment in human creative energies as witnessed by this production. Abbie-lee Lewis’ direction, Angie Matsinos’ set design, Leah Ridley’s costume design, Nathan Sciberras’ lighting design, Kyle Sheedy’s sound design all played a very significant role in energising and making sculptural engagement with time, space and our pre-occupations to lay the platform for the story.

Laila Thaker’s performance of the woman distilled more than character. Her performance was a conduit for so many lost and unknown people whose ghosts must inhabit lost locations and lost moments of intense experience over many generations.

Thaker’s moving from realism into direct monologues with the audience was masterful and challenging because of the subdued intensity of her delivery. She managed a caring for not only the legacy but also for us to learn and hear the voices of the spirits lost from consciousness. One can only imagine that Thaker will take this conduit form further as she explores that direct connection with audiences over time and with assistance from those who experience her work.

Craig Alexander played multiple roles. His ability to characterise different people came to the fore with some great timing and physical changes. His acting thoughtfully created some of the most repulsive characters seen on the stage; more than some of Shakespeare’s villains!

The nuances of his actions within the Woman’s house were totally repulsive and had a visceral effect on the audience. This demonstrated a real talent; a powerful ability to embody the grotesque and the despicable in a culturally identifiable trait within this country.

Alexander showed a very rare ability to fully embody the evil power so prevalent in history and in very specific personalities still prevalent today. Rarely has theatre in Australia seen actors able to fully embody this sinister and yet deceptive power.

The Street Theatre’s production of The Chosen Vessel is a milestone work of Aboriginal Gothic that needs to be seen and taken very seriously throughout this nation and beyond. Its original source, writing, acting and theatrical presentation is of the highest standard and of utmost importance.