An esoteric work for selective tastes, as far as I could make out An Organised Odyssey is about finding one’s true voice. According to Greek mythology, Scylla is a legendary, man-eating monster. She lives on one side of a narrow channel of water, opposite her counterpart, sea-swallowing monster Charybdis. Ancient Greek poet Homer described Scylla as a creature with 12 dangling feet, six long necks and grisly heads lined with a triple row of sharp teeth. Her voice was likened to yelping dogs. She featured as an obstacle in Homer’s Odyssey.
In this piece, the character transitions from princess to nymph, to monster to god. The metamorphosis and belief in self takes place over a day – hour by hour – and subsequently eight legs. The concept is that of Melbourne-based performance writer Laura Collins. As you enter the converted sports warehouse that is known as Testing Grounds, at 450 Queen Street, you are immediately struck by the set. The work of designer Betty Auhl, it is a free form tangle of white sails, cloth, rope and string. Evocative, it speaks of the ships that drift too close to Scylla facing the full force of her destructive power.
An Organised Odyssey unfolds through a combination of narrative, voice over, shadow puppetry, music – up tempo Italian pop and opera – and movement. Scylla starts by describing her day, which includes becoming a woman and talking with demons, along with the mundane – dressing, eating, exercising and showering. At various junctures, she receives diagnoses – she is a shadow and a tarantula. Over time, Scylla comes into her own. She is powerful and passionate. So, too, the actor who plays her. She is forever giving of herself. Clarisse Bonello is fervent and engaging. Make no mistake, this is physical, energetic theatre.
Sound and lighting design (from Junaid Eastman and Kyra Ryan respectively) play an integral role in the piece. From the moody lighting and crashing of waves that point to nature’s destructive force, to uplifting musical refrains, we are taken on a journey of discovery. While I commend the creativity involved in the production and the overall direction of Milly Cooper, I felt An Organised Odyssey should have been tightened. Seventy-five minutes could readily have been cut down to 60, as the work leans into the cryptic and experimental. While I found it too obscure, others will likely embrace its artistic temperament.
It is on at Testing Grounds until 1st September, 2024.
