From my first read, I was taken by the detail and complexity of this compact play. It is disciplined yet subversive, wicked in its humour, and incisive in its observations of humanity. I have admired Anchuli Felicia King’s canon over years of watching and reading her plays. To be able to truly steep in her words and ideas though this production is a special moment for me. I thank Kip Williams for championing and guiding this work my way.
A one-person play is a special animal. Anchuli’s version is a memory play but relentless in its immediacy. We get to play with the elasticity of time and place and to present multiple characters, but what excited me most was her use of the rules of language to demarcate psychological spaces for our protagonist and the impact of the weaponisation of language.
Before I even knew this was written for the powerhouse Catherine Văn-Davies, she materialised a few pages into reading the play. She is a brilliant actor, a friend, and a vigorous collaborator with the tenacity and sharp intelligence to grasp the many layers of this work.
To have the space and capacity to continue building theatrical language with past collaborators is a wonderful thing. I get to work with Benjamin Brockman again in a tonally different show and I am in awe of their range. I also build upon a previous collaboration with Sam Cheng, an active vibrant artist in the independent theatre community making her STC debut. In a new relationship, I get to learn from James Lew’s sharp dramaturgical design practice and lay the foundations of a collaborative methodology. Add to mix Jules Orcullo’s keen eye as Dramaturg and we are well placed to tackle the world of The Consultant.
As the first show to open the doors of Wharf 2, it is an exciting time to celebrate its joys and negotiate with its unique demands. Sean Proude our Stage Manager, guides us through rehearsals and into the space, supported by the Production team. We get to start this chapter of Wharf 2’s life, continuing its legacy as a space for forging new work, a crucible for experimentation, and a landing pad for new exciting artists into the company. We are proud to be a part of a wonderfully creative and productive period for the company, with a multitude of shows being built at this time.
In tackling a work about capitalism blurring our ethics, forming systems to justify inhumane behaviour, and the human cost of corporate practice, having a baby in the room daily was a great leveller, a reminder of the wonder of humanity. Special thanks to baby Ayah for being necessarily there every day to fuel the importance of this play.
Kenneth Moraleda (Photo: Prudence Upton)