What is the concept behindGodface?
We’ve spent the last two years developing Godface. During that time we’ve watched and groaned about the political stupidity on all sides in our own government. So on one level, Godface is a critique of that – political games, wars on young people, show pony politicians and disillusioned voters. But on a larger level we were interested in power – is it possible to seek power without ulterior motives, or does the system eventually catch up with you? Peter Garrett syndrome, right? You started with good intentions but then the system seems to turn you into a sell-out despite all your good intentions. We use the term ‘god’ as being synonymous with extreme influence and power, so becoming a god is infinitely aspirational.
There are clear parallels between Godface and political works like Animal Farm. How direct is the influence?
The work is influenced by all sorts of stuff, from Ovid’s Metamorphoses to Gaiman’s American Gods to Faust and Gilgamesh. Orwell is always a presence in works like this, so it’s hard not to live in his shadow. The connection between political allegory and animals is an interesting one – we are really interested in social archetype and I love how the animals allow us to quickly explore these things.
The show premiered at the Old 505 Theatre last year – was its return always planned around the federal election?
No! We were programmed a while ago and then Mal decided to call his double dissolution at exactly the same time. Believe me, we’re not complaining; it’s bloody great to be presenting a show about an election on the same day that we go to the polls. Thanks, Mal!
What makes Matriark Theatre’s approach to storytelling unique?
One of our core philosophies is ‘big action, small space’. We tell epic, ambitious stories in tiny spaces. The work is simple in the way we restrict our materials and textures to the familiar, but we try to reimagine and stretch them to create new worlds. For us, the audience is the final collaborator in the show. We bring the show and you bring your imagination.
How does directing a show incorporating puppetry like this differ from other work you’ve done?
Our previous show was for children and we also dabble in commedia dell’arte (masked, Italian slapstick) so that history is definitely noticeable in our work. Also, Godface is an ambitious project and it doesn’t cleanly sit in one genre. It’s farcical, fantasy, political, sci-fi, slapstick, pantomime nonsense. With puppets. And masks. I guess you’ll just have to come and see for yourselves!
Godface plays at 107 Projects from Wednesday June 29 until Sunday July 10.
