VICTORIAN THEATRE COMPANY
Written by Daniel Keene
Directed by Jennifer Dean
16/21 May 2022 - Theatre Works
Stage Managed by
Composition & Sound Design by Thomas Kunz
Film Composition by Jak Scanlon
Set & Costume Design by
Lighting Design by
Produced By Samara Barr (VTC), Lauren Bennett (Theatre Works)
Two lovers, Jay and Emma, take the law into their own hands as they try to survive the streets of Melbourne. A dark, poetic, love story.
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Cast: Matthew Connell, Veronica Thomas
Emma and Jay are lovers, isolated and outcast from society. Money is scarce and the streets are dark and unforgiving. Desperate to prove themselves and change their fortunes, they take the law into their own hands. They’re good at it. They enjoy taking what isn't theirs… with heartbreaking consequences.
Told through 28 poems, this dark and poetic love story tells the tale of two outcasts trying to claim their place in society. The text is weaved together with an original score that underpins the emotional journey of the young narrators.
As the struggle of isolation is widely felt, now more than ever, Daniel Keene’s LOW (written in 1990), travels through time and grabs us by the heart.
Richard Murphet gives an insight into his creative process
"Like I told you, someone died, do you remember that?
Are you feeling fine about that?"
Photographs by Chelsea Neate
"The production of The Inhabited Man is a multi-dimensional feat which daringly employs an intoxicating collision of intense audio and layered visual text. The result is a production which not only reinforces the story-telling reach of Murphet’s script, but also intensifies the theatre experience for audiences. The Inhabited Man is a riveting and thought-propelling play about a man snared in the horrific embrace of a war which never ends."
AUSTRALIAN STAGE ON "THE INHABITED MAN"
"The Inhabited Woman represents a floating world, a disconnected place in which both audience and on-stage figures drift into dreamy, atemporal states, before one suddenly catches one’s breath and lightly steps forward into the next, deliberately artificial, theatrical realm. Like tide lapping at a shore, the production beckons and captures the audience before releasing its grip to leave us resting again on the soft surface of a dramaturgical shoreline."
REAL TIME ON "THE INHABITED WOMAN"