Overview
Josephine Stewart-Tewhiu is no stranger to taboo subjects, having previously covered everything from suicide and racial stereotypes in Ruby Tuesday, and death and treatment of the elderly in Chalk. Now, the acclaimed writer and performer has produced a piece that captures her personal experiences with mental health, namely depression. In true Stewart-Tewhiu style, The Black manages to a take both a lighthearted and genuine approach to an especially raw subject.
As well as penning the dark comedy, Stewart-Tewhiu plays the lead role of Cleo, who is depressed. We’re introduced to the 31-year-old as she recalls the struggle of enjoying New Year’s Eve, disrupted by a sky cracking at the seams with coloured light and the stampede of a thousand horses. The equine theme runs deep through the performance, from an inventive horseshoe seating plan, to the physical manifestation of depression as a talking horse.
In this instance, Cleo’s own depression is played out by an emotionally charged horse labelled The Black. Initially appearing in an oversized bondage horse mask, the character is soon revealed to be Julia Croft who effortlessly takes on the physical traits of the sharp tongued superego. Together, expressing their relationship through choreographed dancing and fighting, Cleo and The Black attend a series of therapy sessions with her unruffled therapist Sondra, played by Kate McGill.
Not being entirely tuned in with the clutch of depression, simple metaphors cut deep. The illness is compared to the task of unraveling fairly lights only to discover the bulbs are blown, a never-ending circle, and the eerie trait that horses never forget their human companions. In addition to a combination of vivid and honest dialogue, a wealth of illustration and stop motion imagery is used to drive home the all encompassing grasp of depression. The visual elements were the work of the multi-talented Stewart-Tewhiu, who also produces an avant-garde charcoal illustration of an audience member.
Further life was given from the direction of local thespian Thomas Sainsbury, who together with the, imaginative script and well-balanced characters, managed to provide a stimulating piece of theatre. An apt soundtrack came courtesy of Thomas Press and a shout out to the overhead projector operator should also be given.
Despite its concise running of 45 minutes, The Black manages to bring depression to the forefront as a organic subject.