Like the Faraway Tree, the SBW Stables Theatre’s same wooden stairs lead to an utterly different world. On this occasion the diamond space is hemmed by exposed fluro lights, a white floor mirror-lined, a set of primary-school bubblers, a white pole upstage left… A large wooden crate… huddled figures in opaque raincoats mutter and focus.

This is the jungle. They are soldiers. Waiting.

In this jungle, the soldiers are waiting in bikinis and underwear as the uniforms they were issued are not suitable for this climate. The women of this division hold rank – and the men, should they have sex with any of the women are destined for their demise. They spend their time fantasising, reminiscing, confessing, recalling memories of their lives or civilian world or grand mythic stories. And doing sit ups.

According to Daisy Noyes’ directors note – “For a Better World is not a “well-made play”! In Some ways it is not a play at all, written for a radio, without the restriction of physical staging…” Noyes’ production is clearly attempting to theatricalise what she views (or Schimmelpfennig has written) as a aural text: the visuals are key. Nudity, blood, smoke, disco coloured lights, inconceivably unbelieveable costumes, occasional pole dancing, plenty of feathers and a fan. A stunning design. Noyes’ production team are incredible – especially considering this is a co-op independent production.

Schimmelpfennig is somewhat of a favourite amongst independent theatre makers – with several of his plays produced int he last few years – Arabian Nights, For A Better World, Push Up. The Woman Before appears to be the first Schimmelpfennig play to be produced by a main stage theatre company in Australia – the STC’s version will open on the 8th February. The man reason for this may be that there is alot of problems raised in his writing – problems attractive to directors, designers and actors alike – leaving scope for creative interpretation and wild, brave solutions. However, in my limited experience of his writing – the main concern appears to be existential -examining the disconnect between self and society, or self and others. The ugly clashes and collisions of an over stimulated society and in this play, an under stimulated platoon who are seeking visceral sensation.

I am beginning to notice, that the staging of many plays I have seen lately, there is an overarching concern – and I wonder if this is generational – or socially specific. It seems for a generation of theatre makers, their greatest fear is silence, bare stages. The desire is to show excess – of light, costume, sound, design -the overwhelmingness of it all.

Designer Kate Davis has run wild -and the design is cohesive and impressive. But I’m not sure what it is saying beyond “this is a set representing clinical, German avant-garde art installation.” Lighting designer Emma Valente has not restrained her colour palate, and has dreamt big and vividly. Sound is created and performed live by Martin Kay and Michael Pulsford – layering magpies, ambient noise and bellbird through the sound design.

I absolutely applaud the brave and sassy vision of this production – robust and vivid imagery. However, I think some of my discomfort in this production lies in the script, as the story doesn’t start until the alien arrives – the top third appears to be filler.
What is missing is an invitation for the audience to connect to the characters and I am left wondering if this matters? Am I just old fashioned? I really struggled to want to listen to these soldiers. I didn’t feel connected to them. Was this the point? I looked at the soldiers as though they are aliens. There were moments when I was distracted by the aerobics of the women – and couldn’t pay attention to what was being said or explained. In summary, I was very distracted by much of the visual activity on stage.

My response to this production does not at all correspond with Noyes’ notes about transformation. For me this is a play about the mechanisms we use to survive boredom in the face of impending starvation and death- sex, food, exercise, story. But I’ll keep thinking about it… I’ll have to keep turning this one over in my mind and memory until I am satisfied. I will be fascinated to hear other responses as they emerge from this very theatrical experience.