Great title, great fun
By Owen James
Are we en route to a world where “hail Satan” becomes a normalised, cordial greeting? Kirby Medway’s ‘Oh No! Satan Stole My Pineal Gland!’ undoubtedly wins best title at Fringe this year, and seems to suggest that this future isn’t too far out of reach.
Medway gives us satire at its most contemplative and reflective height in this terrifyingly recognisable world of fake smiles and fake news, set atop and against fake grass. We meet four regular young Australians who casually worship Satan, but whose day-to-day struggles are largely not different to our own. It’s difficult enough to find a comfortable living arrangement, or an easy ‘out’ of an awkward conversation, or remember that specific episode of Gilmore Girls – but even more difficult when you’re a Satanist. The delight Medway finds in distorting communication within this skewed reality provides many moments of entertaining comedy, but also asks many insightful, thought-provoking questions. Each audience member will respond to these questions in their own way, and so interpret this sardonic, and sometimes perplexing world, differently.
Clever direction from Jean Tong and Lou Wall brings out both the warm, relatable humour and the bleak melancholy inherent in Medway’s script with affection and punchy zest. They have created a charming and unique space where left-of-centre stagecraft is quickly established as convention, and then takes on a comedic life of its own – giving the audience a sense that as we understand the rules that define this world, our connection with the text and performers is increasingly embellished. As friendships break down and barriers are built up, comprehending the converging spaces and blurring conversations relies on our learned understanding of the environment depicted – expertly seeped into our consciousness thanks to Tong and Wall’s lucid and deliberate construction.
The cast of five bring their skilled comedic timing to every eccentric beat of this absurd AstroTurf-ed venture, deftly displaying fallacies of friendship and anxious but amusing social discomfort. Societal crisis and organ extortion are all played with a smirk, winking at the perturbing undercurrent of truth-in-flux to their characters. Special mentions to Liam Maguire for his many short, cynical, guitar-plucked taunting tunes delivered with an unnerving and candid grin, and Lou Wall as coercing, stubborn housemate Satan, who induced many giggles from the crowd.
Sell your soul before it’s stolen with your pineal gland, with a ticket to this absurd masterpiece. I look forward to the next offering from Medway and team.
Photography by Alexis Desaulniers-Lea