The Campaign | Underground Theatre Company
Gay, proud, and angry - ‘The Campaign’ by Campion Decent was a raw insight into the queer lives of Tasmanian’s in 1988.
This play was a bold undertaking, venturing into the genre of verbatim theatre. This theatrical style eliminates fictional elements, revealing direct and honest stories rooted in the lived experiences of others. As the Director, Lachlan Boyes, aptly noted in his director’s note, “Directing a verbatim piece is a big responsibility. These aren't just words in a play, these are people’s lives and their struggles.” In my view, Underground Theatre successfully gave voice and justice to the individuals who first spoke these words. The production was approached with a clear sense of honest respect and careful sensitivity. It was refreshing to experience a theatrical work that was written by an Australian that engaged with the queer history of LGBTIQA+ Australians. Hitting the stage at a crucial juncture in our current political climate, this production discusses the significant ways state and federal legislation shapes the lives of queer Australians.
Beginning in 1988 at the Salamanca Markets in Tasmania, a location infamous for the mass arrests of queer individuals, the play follows the interconnected narratives of several characters. These arrests ignited the campaign for legislative reform in Tasmania, a journey the production traces forward to 1997, when the state finally became the last in Australia to decriminalize homosexuality.
Director, Lachlan Boyes, and Assistant Director, Jai Bofinger, are to be commended on the clear research and analysis conducted on the text. Verbatim theatre is a difficult genre prioritising factual representation over artistic interpretation, however, this team skilfully navigated these complexities and successfully conveyed the script’s truth and authentic core. The Stage Management team was led by Gigi McLaren, with assistance from Janae Smith. Their impeccable timing and seamless coordination was a standout feature of this production. The timing of the technical aspects was consistently precise. In addition to the smooth execution of the show, I would like to acknowledge the clear emotional and physical safety protocols put in place to support the creatives through the sensitive subject matter of this play. The cast’s evident sense of safety and support on the stage allowed for deeply sincere emotional expression and the execution of intimate choreography with clear trust and respect. The secure on-stage environment facilitated a harmonious flow of heartfelt intimacy, fully welcoming the audience into those moments.
Production Assistant, Sasha Brewin-Brown, played a vital role in supporting the Directing and Stage Management team, as well as the production company to produce this show. Production design by Dakota Ehrlich, was a cohesive slick, pared-back aesthetic that complimented the genre. The minimalist set design strategically directed the audience’s attention to the power of the text. The back wall was a blank canvas that was progressively painted in real time. For the audience, the effect of this was that we were able to visually follow along the time in which we were placed. The costume design was subtle, yet clever, with each cast member dressed in neutral clothing with different coloured converse - what I perceived to be a charming nod to the LGBTIQA+ flag. I would have loved to see the costuming used in a way to enhance the production’s atmosphere, perhaps integrating an earthy colour palette to compliment the backdrop, and subtle hair and makeup details that could have referenced the plays specific time period.
Helen Butler's lighting design was marked by its clever and deliberate choices. Instead of working with colour, they implemented a strategy of playing with intensity, ranging from stark white to moments of complete blackouts throughout scenes. This was an innovative concept that I personally had not seen before. They also effectively utilised shape within a tight stage. Executed with elegance, the video design was a powerful and effective element. Its placement offered the audience necessary breathing room within the text-heavy performance, whilst strategically highlighting crucial key words. While the sound design effectively highlighted specific moments, greater use of sound to support the overall atmosphere would have been beneficial. Additionally, using sound that aligned with the play's historical setting, rather than contemporary music, would have maintained the audience's immersion in the timeline. For a debut design, Ned Lane’s work seamlessly integrated with the existing production elements.
The performance showcased a remarkable synergy among the ensemble cast. Their performances revealed a profound understanding of the text and the people it represented. The tremendous effort of the cast in portraying multiple real individuals in this incredibly educational text, dense with Australian historical dates, statistics, and facts, is to be applauded. Abigail Thomas gave an authentic performance with a portrayal of a tender and delicate queerness, a welcome and underrepresented nuance, which was particularly impactful. Thomas displayed a remarkable emotional range, effortlessly shifting from gentle comedy to deep heartbreak. Cullyn Beckton's performance was both heartbreakingly authentic and deeply moving. A genuine vulnerability resonated in Cullyn Beckton's delivery of the line, “[I said to him] ‘You don’t have the right to call me those names’, and he said ‘Yes, I do. The law tells me I do”. The sheer sincerity of this delivery rendered the room speechless, and that line lingered in my thoughts well after the performance concluded. Demonstrating versatility, India Johnson's performance showcased a wide array of characters, each brought to life with unique physical and vocal nuances. With sharp wit, India Johnson satirized the absurdity of political representatives whose messaging is based in bigotry and hate. Lachlan Williamson's vulnerable performance laid bare the raw emotional foundation of ‘the campaign’. Holly Lightbody maintained stage presence, reading the ensemble's energy and actively contributing to believable character relationships.
Overall, this play advocates for social and legal change in our current political climate with a message that demands to be heard - queer rights are human rights! The production deserves applause for its sensitive and thoughtful handling of the play's themes. The love and care invested in this production shines through, and I would like to congratulate the team on its success.
Production: The Campaign
Playwright: Campion Decent
Company: Underground Theatre Company
Dates: 23 - 26 April 2025
Venue: PIP Theatre, Milton
Photography by Sinead Leigh (@moonstrikken)