Review: BLUE at Studio Underground At State Theatre Centre

BLUE is a captivating experience that truly stands out, immediately grabbing your attention with its evocative atmosphere and originality. BLACK SWAN Theatre Company's latest offering is both deeply effective and refreshingly unique, leaving an impression that lingers long after its conclusion. At 90 minutes long, this single act show is brief but impactful, fleeting yet powerful. The writer, director, and performer are all proud First Nations people, though the themes it explores are universal. A talented creative team bring BLUE together to make a play that is deeply touching and thought-provoking.

Taking over the role of Mark, the central/only character is Whadjuk Noongar man Owen Hasluck. The show begins sombrely, with Mark being a somewhat typical male, guarded and revealing precious little at first. Mark is, however, a writer, and the show evolves as a letter from the author, with facts and feelings trickling out at first but losing restraint and developing into a flood as the show goes on. Hasluck reflects this perfectly, as if feeling the audience out before he can trust them with the character’s innermost emotions and deepest seeded memories. The ability to slowly ease into a character and bring the audience on a journey can be difficult, but Hasluck does it naturally.

Thomas Weatherall wrote BLUE as a work of fiction to help him navigate troubled times. Whilst fictional, there are genuine connections to Weatherall’s life, and themes and experiences that are universal. It becomes harder and harder- near impossible by the end- to feel separated from the character, his humanity and raw emotion shining through. Weatherall clearly wants you to know what it’s like to feel. Weatherall wants you to know that there’s ways to get through whatever life (or indeed death) is throwing at you. Weatherall wants you to know that you’re never alone. Weatherall wants you to see the beauty in life and have those conversations we’re afraid of. Through the medium of theatre, Thomas Weatherall succeeds, with hope and humour forever shining through the character’s sadness.

Whilst Owen Hasluck bears much of the work conveying the show, there is a great deal of stagecraft used to make it hit home. Set designer Cherish Marrington has further stripped back the staging from the shows Sydney and Brisbane seasons, with two large glass doors and a few odd shapes the sum of all staging. The shapes are manipulated by Hasluck to be all sorts of settings; kitchen benches, beds and the beach to name but a few. At the start of the show, the pieces are moved with care, as the show progresses they become vehicles for Mark’s frustration and sadness, whilst the sounds of the pieces crashing to the floor being used to ease periods of quietness. Matthew Erren’s lighting shifts throughout the show, brilliantly enhancing the character’s thoughts and feelings. Sound designer/composer Jarred Wall draws the audience right into Mark’s head at times, with tones, noises and music that make the depths of emotion unavoidable. Director Ian Wilkes ensures everything the show has at its disposal, which is outwardly very little, is used to maximum effect, lights and sounds and one actor being exquisitely crafted into a play that hits as hard as anything.

BLUE is a moving journey through growing up and finding hope in loss. It is perfectly crafted to hit hard at times, but give enough humour and lightness so that, when it’s over, it feels like you’ve had a conversation (one sided, as it may be) with a friend, a conversation that feels like it can continue. It’s an emotional journey that reminds us of so much, not least of all the pure power of well-done theatre.

BLUE is at Studio Underground at the State Theatre Centre until June 8th. Tickets and more information from BLACK SWAN Theatre Company