“Five women gather together. They knit. And as they knit, they talk, telling each other the seemingly ordinary stories of their seemingly ordinary lives. But the more they talk, and the more the rhythms of their knitting are disturbed, the more insular they become. Hidden layers of emotional and physical distress – anxiety, sensitivity, depression and obsession – begin to assert themselves. Conversation breaks down. Knitting stops. All that is left are their bodies.”
Content Warning: Mental Illness
Concept Creation by Romi Kupfer
Writer: Diane Stubbings
Director: Romi Kupfer
Producer: RK Collaborations
Performers: Angelique Malcolm, Yoni Prior, Sasha Leong, Sonia Marcon, Lesley Coleman
Costume and Set Design: Betty Auhl
Sound Design: Simon Starr
Projection Artist: Jenna Eriksen
Production Coordinator: Jarman Oakley
Image by Darren Gill
Director’s Note:
“The concept behind the development of Flesh Disease was to try to embody the lived, everyday experience of mental illness.
Diane and I started working on Flesh Disease together in 2018. We were both passionate about destigmatising mental illness and wanted to explore both the emotional and the physical impact mental illness can have. We were also interested in finding ways to show the degree to which mental illness presses itself into so many aspects of everyday life.
During Flesh Disease we spend time with five women, and each in her own way offers us a glimpse into her own personal trauma and into the hardships and struggles she has experienced. In a shared environment they have come to feel is gentle and caring, the women gradually shed their armour and reveal more fully the truth of their experience, a truth that comes not so much in words as in their recognition of the impossibility of words. In the end, it’s only their bodies that can speak their absolute truths.
Compared to living with mental illness, Flesh Disease is a short, ephemeral experience. Through the characters’ vulnerability, through their honesty as they speak their truth, and through the visceral embodiment of their experiences, it’s my hope that audiences might glean a keener sense not only what mental illness is, but what mental illness feels like.
Everyone’s experience of mental illness is unique, but as I watch these five women confront their own and each other’s experiences, I can only admire them for their strength and their determination to continue, no matter the cards life has dealt them.
Many people watching Flesh Disease will know exactly what mental illness feels like – what I hope the play says to you is, ‘You are not alone.’ ”
Stubbings has written an oblique, subtle, and metaphorical script that caused discomfort and confusion for the audience. This invited the audience to experience both a visceral and intellectual experience of mental illness, as they struggled to comprehend its trajectory, what anything meant, and the incomprehensible task of stitching together the final garment. This quirky play demanded discussion when the audience leaves the theatre. The audience is invited to experience a parallel process; a sensation of mental illness where we are overtaken by primitive bewilderment and frustration. Mental illness is both a personal and a universal experience. Anxiety, terror, depression, repetition compulsion of OCD, psychosis and brain dysfunction may feel different for everyone. It is messy and senseless to the observer. There were moments of humour alongside the discomfort. There is a homage to Freud by the preoccupation with rats and free association, and to Jung’s unconscious by the projection artist, Jenna Eriksen.
The metaphor of the act of knitting opened and closed the play as the actors repeated ‘one more row’. We are invited to ponder knitting one more row: creating each day, month and year; unravelling them; repeating…’knit one, purl two’. Pearl – the significance of the pearl that killed a mother. Ingesting the repetition one row forward and two rows backward. Forced to swallow one’s truth and dying to dislodge one’s truth.
The pearl of the infinite, the blue pearl of the universe. The invitation to meditate to be in the moment. One more row.
So many quirky linkages were made by the actors; one morphed into an angry swimmer who competed in her row – her private pool lane. Each actor kept to their own row as they struggled to propel themselves forward but succumbed to floating in their unconscious.
Betty Auhl (set and costume designer) did a terrific job. Using fringes colour matched to costumes and signifying particular body parts as illness repositories was an inspired decision.
Each actor was dressed as a chakra, and each character’s fringes shimmied like Tina Turner as they danced their individual arcs, like an elusive rainbow – alongside but not together.
Each actor wore individual fringes or tassels to a greater and lesser extent, like the differential fraying of the ends of their unique telomeres; their organs; their muscles; their bodies and their minds.
A play that showcases older women actors is commendable; a play that casts five strong, intelligent actors of different ages but with similar skill level is a joy to witness.
5 very accomplished actors use movement and dance to great effect. Whether consciously or unconsciously, they portray the body experience of the incarceration of the mentally ill through the centuries.
Skin is invaded or flayed. One wrestles with trying to escape from a straight jacket, one shivers and cowers during cold bath treatments, and several alternate catatonia and rage. They flow, they are disjointed, and they are poignant.
Poignant stories were told, interspersed with verbal fruit salad that signified their disintegration. I would have liked to hear more stories.
We went with friends who are avid theatregoers. The four of us were delighted with the music, projections, and sound and lighting. Impeccable timing, and potent work – congrats to Jarman Oakley, Jenna Eriksen, and Simon Starr. Their synergy with subject matter and the performers was seamless.
We all appreciated the disintegration of the flesh. Matt would have liked ‘more connective tissue’, between the characters and Kate noted that the actors were so exceptional we didn’t really need more than three repetitions of their dancing/movement sequences. I’d take it further by recommending an extension of the play – perhaps a triptych of their childhoods, the current script, and then later in their lives. Several plays are running segments on different nights, and I think this is such a vital subject it deserves the additional writing.
The Director, Romi Kupfer, brought heart and care to her work. Her concern for people and the issues that we need to address as a society is profound. Few younger directors could honour a group of accomplished older actors and invite collaboration rather than control. Her casting techniques are impressive, and her commitment to her craft is commendable. Her thoughtfulness and respect for the audience is clear from the program material and announcements made by Lesley Coleman at the conclusion.
Kupfer explains, ” As a producer and director, I need to hold the space and care for the people (cast, crew, and audience members). I want to facilitate and navigate difficult conversations in a safe way. People who manage mental illness are strong. In Flesh Disease I want to support people feeling empowered and show how they have grit in dealing with everyday life.”
Generally, around half our population manages anxiety and depression with varied success. Our society is gradually becoming more aware and the creative arts have much to offer by bringing social issues to people’s attention with sensitivity and respect. These are valuable themes to explore in theatre.
The five performers did great work together; bravo Angelique, Yoni, Sasha, Sonia and Lesley. I am familiar with the excellence of two actors; having attended many of Angelique Malcolm’s theatre performances, and having worked with Lesley Coleman on her film about family violence (www.home-truths.com.au). It was a treat to see talented Yoni Price, Sasha Leong, and Soni Marcon. I look forward to seeing more of them.
Wed: 6.30pm
Thurs, Fri, Sat: 7.30pm
Mar 19 (Sun): 4pm
Mar 25 (Sat): 4pm
FLESH DISEASE on Sunday 19 March 2023 4:00 PM at La Mama HQ will feature a Q&A following the play, with Meredith Fuller & Brian Walsh Psychologists, Writer Diane Stubbings, and Director Romi Kupfer- 205 Faraday Street, Carlton, Victoria, 3053.
