Carpe noctem – Andrew Waldin as Master of Ceremonies. Photo: Cassandra Hannagan
In this immersive theatre event, audiences – let’s call them ‘inductees’ – are invited to ‘seize the night’ (carpe noctem, as opposed to carpe diem) and indulge in the hedonistic pleasures of ‘the society’, itself heralded as ‘neat, discreet and elite’. To this end, masks and enveloping black cloaks are handed to all, before participants are led into the first of a series of rooms to await the pleasures that will unfold.
It’s a fun concept, a blend of theatre, cocktails and somewhat surreal storytelling and takes place in the Union Bond Store, transformed into a series of darkened dens and subtly lit stairwells (all credit here to the lighting and set designers, who are in fact the co-creators of the entire work) and is designed for small groups of no more than 24.
The first encounter is with the fur-robed, wild-eyed and bare-chested Master of Ceremonies, Bromius (Andrew Waldin), in his red-hued salon. Interrupted in his own self-gratification, he welcomes and urges those present to learn and enjoy – as well as to partake of the cocktails on offer. One ‘inductee’ is selected and led out of sight, leaving us wondering what will become of her. It’s theatre up close and personal, and expectations ran high.
In the next, much smaller room, almost obscured by jungly foliage, is Pan, (a behorned Cyrus Henry), playing his pipes, of course – when not dancing wildly to much more contemporary music. This Pan, playing with lyrical language, is also redolent of Shakespeare’s Puck. The wordplay in When Night Comes is its own delight, often poetic as well as mildly suggestive. Oscar Wilde’s lines get a look-in as well.
There’s more to see and experience on the stairwells as participants are urged to see into other worlds. It’s a gentle assault on the senses: some beautiful costumes and intriguing lighting; different ‘elixirs’ and cocktails (mocktails are alternative offerings) to taste; exotic fragrances (courtesy of another performance piece in a room redolent of Eastern promise) to inhale. And sound, of course. To explain all would be to detract from the surprises, but a special mention must go to Meg Hickey’s character, Enterpe, whose slightly deranged and thoroughly entertaining operatic scenes were a comedic delight.
The rest of the cast is new for Sydney, but Hickey is reprising this role as When Night Comes has already enjoyed a successful season in Melbourne. The team behind it is Broad Encounters, with co-directors Scott Maidment (known in this city for the fabulous Blanc de Blanc cabarets at The Grand Electric); Kirsten Siddle, also credited as co-creator and co-writer; and Mike Finch, who was co-CEO of Australia’s Circus Oz from 1997 to 2015. In short, this team has a fine track record of creating immersive theatre and the Sydney season of When Night Comes has already been extended.
There is no through plot to pull all the scenes together – mild decadence is the unifying theme, culminating in a sort of cult-like number at the end (nothing threatening, folks.) What happened to the audience member singled out at the beginning? She returned, with no fanfare and none the worse for wear (I know what happened but I doubt anyone else in my group did, so that was a bit strange. An opportunity lost?). I think, too, that each group will bring its own energy as ‘inductees’ (this is my descriptor, not that of the When Night Comes team) – and therefore each person’s experience will be different, as it must be in such an intimate set up. All up, a fun and playful night, urging carpe noctem and an escape from the ordinary – and that’s a fine philosophy.
When Night Comes Sydney is presented in partnership with Sydney Fringe Festival and The Rocks, and runs until 16 October at the Union Bond Store, corner of George and Atherden Streets in The Rocks. Performances times are staggered to allow more groups to pass through and the show runs for 65 minutes.
Tickets $57.20-$101.50
whennightcomestheshow.com
