These are the isolate
Ed McCallister is a happily married man who is neither happy nor married. When overlooked for a promotion at work he returns home to find a woman, possibly his wife, setting up an elaborate suicide machine…all he wanted was someone to remember his birthday.
These are the isolate is an unsettling, darkly humorous and tragic tale of the destruction of isolation.2010 Melbourne Fringe Festival Winner – Best New Writer Award Winner – Theatre Works Award
Presented by Mutation Theatre / Written by Katy Warner / Performed by Katy Warner & Tim Wotherspoon / Outside Eye and Mentor Matt Scholten / Produced by Patrick McCarthy2011 Theatre Works Nominated – Green Room Award – Lighting Design (Katie Sfetkidis)
Presented by Theatre Works and Mutation Theatre / Written by Katy Warner / Directed by Marcel Dorney / Performed by Katy Warner & Tim Wotherspoon / Lighting Design by Katie Sfetkidis / Lighting Operation by Kris Chainey / Produced by Patrick McCarthy and James Tresise
Promotional video by storybottle – watch the video here
Reviews of These are the isolate
Theatre Works Season 2011
The writing is seriously promising, witty, concrete and detailed … there’s no doubting the promise it reveals, especially in the bold poetic of its theatrical attack.
Alison Croggon, Theatre Notes, March 2011
These are the Isolate is a tight, claustrophobic, oppressive two-hander. It was hard to breath for the 45 minute duration and this highly visceral experience is evidence of how well this writing works. The fact that there were moments that I was laughing out loud amidst the feeling of drowning in despair is proof of the writing’s subtlety and beauty. The play, by Katy Warner, has a muted lyricism and a masterful use of repetition. The words are used against themselves. They contradict and undermine their speaker. Meaning is constantly shifting. I adore this sophisticated, disciplined use of language. Every word matters.
Ricci Jane Adams, March 2011 – ricci-jane.blogspot.com
Melbourne Fringe Festival Season 2010
… it’s been my biggest surprise of the festival so far … It really is one helluva piece of work.
I won’t write much about it now since much of what makes it worth seeing is the experience of discovering it for yourself. The writing is outstanding, with a kind of Schroedinger’s Cat quality – you know the experiment where a cat in a box is both alive and dead at the same time until the moment the box is opened and uncertainty is reduced to reality? There are elements of uncertainty at play here, but unlike your standard narrative mystery which involves the withholding of vital facts, this one presents incommensurate realities simultaneously so the mind is forced to switch back and forth between possibilities that can’t be reconciled. It’s a bit like those pictures that are both a lamp and a pair of faces but the brain can’t register both at once.
John Bailey, A Capital Idea, 2010
4 1/2 Stars. Katy Warner’s play is full of rapid-fire word games — a compelling construction of a fractured interior nourished by Beckett. Albee might be another spoke in its wheel. I kept imagining Who’s Afraid Of Virginia Woolf? where both Martha and the absent child are phantoms … this is astonishing theatre.
It knows the song the sirens sang was a lullaby.
Cameron Woodhead, The Age, 2010
Interview with Beat Magazine, 16 February 2011 (by Daniel Coghlan)
Article, The Return of Menacing Dialogue, in The Age / Sydney Morning Herald, 15 March 2011 (by Robin Usher)
Article, Theatre dropout’s triumphant new show, in The Herald Sun, 25 March 2011 (by Sally Bennett)