Gagarin Way

Gagarin Way Garage, 181 Hobson Street, Auckland

01/12/2010 - 11/12/2010

Production Details



THEATRICAL DYNAMITE

Described as a ton of theatrical dynamite disguised as a mere Molotov cocktail, Gregory Burke’s award-winning play Gagarin Way has its Auckland debut this December.

Frisky Productions presents Gagarin Way at The Gagarin Way Garage, 181 Hobson Street, Auckland from 1-11 December.

Multi-award winning actor Gareth Reeves (I’m Not Harry Jenson, The Cult, Go Girls) makes his directorial debut delivering this explosive tale of two disillusioned factory workers, Gary and Eddie, who, awash with anti-globalist anger, kidnap a Japanese business executive in a plot to demonstrate their anti-corporate sentiments to the world.

However, the duo’s cunning plan goes awry when Frank – the business man they have abducted – turns out not to be a Japanese executive, Eddie forgets the balaclavas, the manifesto they wish to release to the waiting world is hazy and Tom – a young security guard with a degree in political science – accidentally gate-crashes the scene of the crime.

The four men find themselves confined in a claustrophobic factory store room and tension crackles. The audience is confronted by a visceral and fiercely comic explosion of ideologies and hopes as each man’s story emerges throughout the course of the play.

“I didn’t expect it to be a comedy,” Scottish playwright Gregory Burke explains, “ but when you consider the themes – Marxist and Hegelian theories of history, anarchism, psychopathology, existentialism, mental illness, political terrorism, nihilism, globalisation and the crisis in masculinity – then it couldn’t really be anything else.” 

“To make a comedy of contradictions is the ultimate prank. To set it in the confines of a factory whereby the most cack-handed of empty gestures is exposed in all its farcical colours as playwright Gregory Burke has done is pretty close to genius” – The Herald (Scotland) 

Gagarin Way premiered at the Edinburgh Fringe Festival in 2001, where it won a Fringe First, the Best of the Fringe First Awards and The Scotsman Readers’ Favourite Award. Following sell-out runs after its transfer to London’s National Theatre, it was named one of the best plays of 2001 by The Daily Telegraph, The Guardian, The Observer and Mail on Sunday. Gagarin Way received a nomination for ‘Best New Play’ at the 2002 Olivier Awards and Gregory Burke was awarded the 2001 Critic’s Circle Award for ‘Most Promising Playwright’. 

Gagarin Way stars a talented all-male cast featuring Will Wallace (The Cult, Jinx Sisters), Edward Newborn (Krapp’s Last Tape, National Theatre), Kevin Keys (August: Osage County) and Emmet Skilton (Home by Christmas). 

Gagarin Way plays at
The Gagarin Way Garage, 181 Hobson Street, Auckland
from 1-11 December at 8pm (No show Sunday 5 December)
Tickets are $25 (adult) or $20 (concession or group of 8+)
and can be booked from www.eventfinder.co.nz  

For more information visit www.friskyproductionsnz.com/  


Cast 
Will Wallace 
Edward Newborn 
Kevin Keys
Emmet Skilton



Scottish wit with a political edge

Review by Janet McAllister 09th Dec 2010

Gagarin Way is about current political apathy; nonetheless it expects its audience to have a wee bit of political awareness, particularly vis-a-vis 20th century British history.

But even if you’re not familiar with “devolution” (Scotland getting its own parliament) and have only the vaguest idea about socialism, this bleak, real-time comedy is enjoyable: excellent staging, good acting, amusing one-liners.

It is set and staged in a warehouse garage. The fluorescent lights shine on the small audience and four actors alike, and Bronwyn Bent’s set is so clever that its cubbyholes and rubbish bags don’t look designed at all. You’re immersed as soon as you step through the roller door. [More]
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Porletuks, phulorsorphy ’n’ murrddurr

Review by Nik Smythe 02nd Dec 2010

Gregory Burke wrote this play at the beginning of the millennium as a kind of political snapshot, exploring the shifting culture of working people in the typical Scottish factory town of Fife as their socialist history is being swallowed up by the inevitable onslaught of capitalism. Secretly though, it’s really a wryly hilarious black comedy about some bumbling would-be activists at amateur hour.

Set in a shabby computer accessories factory warehouse, the unique venue – a large garage space behind a Chinese newspaper office on Hobson Street (across the road from the police station) – is as ideal as it could hope to be. The walls are lined with hundreds of filing boxes, trays and cubbyholes strewn with general warehouse type stuff; nothing intended for any aesthetic purpose. 

The patrons’ entrance in the metal rollerdoor becomes the cast’s entrance too; the loud echoing rattle and slam as the first character enters signaling us that the play has begun. 

Fresh-faced Tom (Emmett Skilton) is a naïve young security guard, recently graduated from university with a degree in politics. At around three thirty in the morning, according to the clock on the wall, he’s here to meet with sharp-dressing motor-mouthed tough prick Eddie (Kevin Keys), who has ostensibly offered him two hundred quid to let his friend’s van in so they can pinch some computer chips to flog on the black market. 

It takes a few lines of dialogue to acclimatise my ears to the altogether convincing extreme Scots accents as the two lads pass the time discussing the merits of philosophy and education before said van arrives tooting loudly to be let in. It soon becomes apparent there’s more than a mere I.T. heist afoot here, as earnest thug Gary (Will Wallace) drags in an unconscious hostage. 

From here all bets are off as Gary and Eddie vie for command of the dubious proceedings. One asserts their intention is political in nature, to send an important message to the powers that be; the other just seems to want to fuck shit up for the sheer fookin joy of it. The hostage, Frank (Edward Newborn) is revived to be witness to his own murder… 

Young veteran actor Gareth Reeves’ directorial debut is a strong treatment of Burkes’ vigorous text, with snappy cues and solid performances from his well-appointed cast. Not to give too much away, it doesn’t end at all pleasantly; nevertheless there’s plenty about Gagarin Way to appeal to philosophical and political enthusiasts and fans of the c word alike.
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