The Sydney University Dramatic Society (SUDS) has announced a run of winter performances for its new experimental play, penned by one of their most promising students, Britt Haynes, entitled The Decameron Diaz.
Mr Haynes promises that his play will ‘completely reshape’ the way audiences are bored by theatre.
“I think there’s this perception among more mainstream theatre goers that everything has already been written and performed. ‘Oh another performance of Hamlet?’ they yawn dismissively as I’m handing out fliers for our performance of Hamlet. But at SUDS we’re also pioneering new forms of tediousness every year.
“If you haven’t fallen asleep in a theatre in sometime, we urge you to come back and experience nodding off in ways you never imagined.”
Sydney has a long, rich history of being bored by theatre. However, in recent years Sydney has been losing its place as Australia’s cultural capital to Melbourne, following an initiative by the Victorian Government to increase funding to the self-important arts.
There’s a common perception among Sydneysiders that theatre is purely the domain of the well-heeled, but Mr Haynes wishes to alter that.
“The first avant-garde shows were a response to the bourgeois theatre of the time. Our plays are meant to be enjoyed by the common man, as long as they’ve had a private school education and can understand my references to 14th century Italian literature.”
Mr Haynes was quick to add; “a passing knowledge of Florentine and some familiarity with the Verfremdungseffekt wouldn’t go a stray.”
SUDS is Australia’s oldest continual theatre company and has produced some of Australia’s most famed and beloved actors. Past alumni include Gough Whitlam, Germaine Greer, and that friend of a friend who won’t stop casually bringing up Pinter.
Matthew Farthing is the theatre reporter for The (un)Australian. You can catch him in ‘Madame Butterfly’ providing you don’t knock before entering her brothel.