Review: TRUTHMACHINE at State Theatre Centre of WA
TRUTHMACHINE at Studio Suite at State Theatre Centre of WA
Wednesday, January 31, 2024
Would you allow yourself to be interrogated by a room of strangers? Such is the case at TRUTHMACHINE, a multi-sensory experience in the intimate Studio Suite at the State Theatre Centre of WA.
Participants entered the space, which was dramatically lit in whites and blues, reminiscent of a high-octane police drama set. Seated around a large table, each participant had a set of headphones and an interactive ‘yes-or-no’ dial for live voting.
Interrogating the nature of ‘truth’ as a concept that is held as absolute and incorruptible in society, the show introduces itself as a social experiment about ‘truth’, but quickly unwinds into a complex narrative about vulnerability, subconscious deceit, and the many faces an individual may wear in society.
With an air of legitimacy in the atmospheric set, the mass of wires and cables jutting from the machines, and the stoic technology operator at the head of the table, it was fascinating to watch as audiences became quickly involved in the action, proffering ‘yes-or-no’ answers to an assortment of benign and quirky questions—a credit to the totally immersive nature of the show.
The entrance of a second facilitator signalled a change in the experience towards a more individualised interrogation. The sheer presence of the facilitator, as an intimidating and interrogating figure, was absolutely captivating and heightened the drama and perceived stakes of the experience.
Selecting an individual from the crowd at random and strapping them into a polygraph test, audiences then became spectators in the public ‘interrogation’. As the participant’s galvanic skin response, heart rate, and breathing monitors were incorporated into the auditory folds of the soundscape, it was difficult not to lose oneself in the theatre of the piece.
The facilitator subjected the participant to a series of varied and fascinating questions, which alternated between the embarrassing, the sincere, occasionally the criminal, and once in a while, the disarmingly and surprisingly sexual. With a perfect sense of pacing and quick-fire delivery of questions by the facilitator, the result was a masterful blurring of lines between the worlds of the individual and the public and truth and facade as audiences shared in the intimacy of a stranger’s deepest secrets.
Concluding with a fascinating finale that turned the show’s concept directly on its head and left audiences with a lot to think about, the show was a perfect condensation of theatre, spectacle, and multi-sensory experience into a 30-minute time slot.
Those interested in the spectacle of the show but undecided on the participation element were able to refuse consent to participate as a part of the opening sequences and settle in to enjoy the experience instead. The consent-based participation model was perfectly appropriate for the show and created a greater air of safety and engagement among participants.
Overall, this show was a perfect embodiment of the ideal Fringe show: experimental, captivating, well delivered and totally unique. Those missing the interactivity of previous Fringe shows, such as the Darkfield auditory experiences in shipping containers, will delight in this new show.
BEC WELDON