REDEMPTION

A bloody and R-rated Storm begins to gather at the Old Fitzroy

A Different Corner & Drama Queen Productions
In association with Tamarama Rock Surfers
Proudly presents an Australian premiere

REDEMPTION

By Jonathan Ari Lander

Starring
Fayssal Bazzi (Cedar Boys)
Madeleine Jones (Cabaret)
Lucy Miller (Unit 46, Snatch Paradise)
Kyle Rowling (Spartacus: Blood and Sand)

Director
Fiona Pulford (affiliate director with STC 1999/2000)

A plague ravaged world at the edge of time… One family has survived. Their daughter, blind, is showing symptoms of the sickness. They believe they are the last people alive on earth and that through their trust in God they will be saved and the world will be reborn. A storm begins to gather. A stranger arrives who offers to save them, or has he come to destroy them? Finally the raging, burning storm breaks, trapping all four inside. Forced together, suspicions and confrontations begin. Sexual inhibitions and boundaries start to collapse, fuelled by the escalating dreams and visions of the blind daughter.

Redemption journeys into the dark forest of the soul, where the choice is to wait for death to strike or receive redemption. What would you choose?

Director Fiona Pulford transforms the Old Fitzroy Theatre into a new world – part fairytale, part nightmare. She pitches her fearless cast into this extreme and extraordinary world that is sure to enthral and challenge audiences – the world that is Redemption.

Charismatic, occasionally hilarious, often disturbing

Director Fiona Pullford and her design team have used the Fitz space very well, and what initially appears to be a schizophrenic set design reveals a versatility and functionality that’s difficult to achieve in such a small theatre.

There is no shortage of action in Redemption ­ it’s easily the rapiest show I’ve seen in years, Jacobean and Elizabethan theatre notwithstanding. Beneath its charismatic, occasionally hilarious, often disturbing façade, there’s a bleakness and lack of the eponymous redemption that really only hits you once you’re no longer absorbed in the world of the play. The plot itself trucks along, and there’s not awards for guessing where you’re going ­ this is, after all, a melodrama.

—Lachlan Williams www.theangle.org