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Children of the Sun by Maxim Gorky was originally performed during the Russian revolution of 1905. Apparently, the situation outside the theatre was so tense that the audience panicked when the mob depicted in the play began to knock on the theatre wall– they thought it really was the outside world trying to get in. Luckily, the second year Drama students and the Sugarglass team did not have to perform under the same political conditions that the actors would have originally faced in 1905. Instead, some may argue, they have gotten significantly worse.
Specters of Gorky is a devised piece based on the writings of Maxim Gorky. It is a postmodern masterpiece, that is still relevant for our contemporary audiences. The play depicts scenes of various intensity which each depict the same message – that there’s something outside the safe space they have built for themselves and it’s trying its hardest break in to their world that they have created. The characters live in bliss – taking their daily medication, having petty squabbles over relationships and food, all the while the knocking is getting more pronounced, faster and more urgent. Will they outlive the flood that’s threatening to drown them? What about the angry mob that is descending upon their city? Why are they ignoring the threats that could ruin their very lives? One observing this piece from the audience’s perspective can relate their everyday realities to the piece. Why are we ignoring global warming? Why are we so caught up with social media and putting on a show when there is more to repeal? The Specters of Gorky may have awakened a deeper sense of questioning amongst audience members.
The set is clinical and monotone, with large swooping curtains that open and close throughout the piece. There is a Orwellian 1984 vibe of someone always watching, as the audience often observed large shadows of people standing behind the curtain, or a curtain swooping back to expose someone, completely motionless, watching and waiting. Various moments of humour break up the bleak script – although there are plenty of despondent moments to go around. Most notably, a long piece in the middle that was perhaps put in to reference the growing internet trend of ASMR (autonomous sensory meridian response) that is very popular nowadays. The piece was interesting and fit with the bleak nature of the play, although the time spent setting it up and taking it down left me wondering if the time could have been better used, or if it could have been altered to fit into the overall narrative of the story. Nevertheless, it was interesting to see a modern trend mixed with the postmodern structure that was presented to the audience.
Altogether, I found the play to be of a good length with interesting dialogue that reflects well on the talent of both Sugarglass and the second year ensemble. I will be excited to see what they will manage to do with their talents in the future, and indeed, to see Sugarglass take on and work with the next year’s students..
