Minus One Sister is for those that want to test their own familial values against that of another’s.
It’s a fast-paced thriller of sorts with characters so sure of themselves it’s difficult to distance yourself from their dysfunction.
The imbued theme of “there but not” plays on minds and stimulates wonderings of where we sit in our own bloodline hierarchy.
We are haunted by the recurrence of Phoebe Sullivan’s wall banging Iphigenia; she a symbol of what once was, reminding the characters and us what we’ve lost without ever having it to begin with.
Lighting Designer Phoebe Pilcher’s many production credits to her name are not surprising.
Her use of shadows and coloured lighting is exquisite, with each scene saturated in thick overtones, matching the pace of movement on stage and pairing seamlessly with Alex Turley’s befitting wild compositions.
Key one-liners provided reprieves of comedy and surprised the subdued audience enough to elicit small snorts of amusement.
However, at times the lyricism was lost when dialogue blurred together – a small writing issue perhaps.
It tore attention from the storyline and confused the audience, but the timing of each interjected line was rarely off, demonstrating the well-rehearsed and professional nature of predominantly WAAPA alum actors and production members.
This show is for viewers who want electric and driven dialogue breathed into struggling characters.
Minus One Sister explores mental illness and trauma and a family that started off just like any other.
Our own securities are left vulnerable and we cling to the notion that maybe they weren’t ever as happy as they say – though the actors are more than convincing.
It is not lighthearted; in fact, it’s not ‘light’ anything. It’s weighty and full frontal. Its themes are dark and you are drawn in with each captivating overlap of fragmented story.
Minus One Sister is showing at the Studio Underground at the State Theatre only until February 3rd.