Review: FLOOD Teaches a Valuable Lesson at Old 505 Theatre

Have you heard the one about the six white millennials who walk into an Indigenous sacred site?
No?
That's probably because it's not a joke.

You'd be forgiven for having some reservations about Flood, depicting the reunion of six white young adults who take to the outback stacked high with privilege, ignorance and the entitlement genetically imbued in them. However, what has been created here is an intelligent, suspenseful and impactful showcase of emerging performance talent in Sydney. Crafted to activate discussion, Flood treads the line of controversy and cultural appropriation deftly under the skilled direction of Charles Sanders. Well worth a visit, and healthy debate post-visit.

Chris Isaacs would be well-advised to develop Flood further, for it is a direct narrative that moved toward its objective without much nuance, but this was entirely suitable for the production and the morally volatile ground on which the play traverses. Six semi-unlikely friends come together for a camping trip and find themselves in a paradise they genuinely feel belongs to them. When they are discovered by an Indigenous man, their attitudes as individuals and as a group will be exposed, and they will all undergo a crucible of the bonds of humanity.

The cast all handled the content of the production with a realism, and yet an inescapable sensitivity established by the opening sequence being one of acknowledgement of Indigenous ownership of the land on which Old 505 Theatre was constructed and Flood performed. This proved a wise choice as each performer assumed an almost insufferable personality in each's own right. James Wright took on the alpha-male Mike with gusto and worked his character's development to stand out in the ensemble. Keeping pace with his animated, dynamic interpretation of character is Olivia Jubb as the firecracker Frankie, who is also given the most opportunity for character development which she handles with authenticity and energy. AaRon Lucas as the shadow leader Sal cleverly kept a consistent muteness to derive more depth from the character. Caitlin Burley's Elizabeth provided the clearest and steadiest trajectory of the ensemble, although the use of monologues instead of action didn't exhibit her strengths completely. David Harper, as the more sensitive male input, did a good job of demonstrating trauma but his chemistry with his partner, played by Chandel Rose, didn't convince. For her part, Chandel Rose was strong and hit all the right notes in the role of Vanessa, another character the text might've afforded more poignancy. As an ensemble, the cast were evenly matched for the content, making for an entertaining and insightful evening.

A welcome alignment to the respectful opening of the show, Stephanie Howe's set of messages in sand, plain white chairs and configurable curtains sent an insightful affirmation of the production not interfering with narratives or cultural components to which it doesn't belong. Having the audience enter past authentic indigenous artworks, and having these be omnipresent to the set also communicated the respect paid by the entire Flood team. It is worth noting that Johnny Daylight Lacey, Bernice Mumbulla and Ali Murphy-Oates consulted on the Indigenous content, thanking them for their input, and commending these forms of involving communities directly in stories that concern theM. Daylight Lacey also composed original music which resonated so powerfully with the emotions in the work.

Flood is conscious work of such a kind as should be perpetuated as artists are charged now more than ever to lead the way for inclusivity, empathy and progress. A crowdfunded production, it is exciting to see a show that is self-evident on the amount of work and time required to create work. Ultimately, Flood is essentially an allegory of the colonial history of our nation, that needing urgent and pervasive uprooting.

Tickets available here.
Images by Alexandra Nell.

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