“I love how Doppelgangster sweep into town with their own form of anarchic theatre, wake up the theatrical sleepers of Sydney as we return to our well-made plays. For the feeling you get the morning after I recommend!”
Kate Gaul
4 Stars
Venue: KXT on Broadway
Sydney
Dates: 21st – 31st May 2025
We are told ‘Theatrical Sabboteurs’ Doppelganster bring their latest, miraculous work about living in dark times, violence, and disorder. In this part shocking anticomedy, part historical folk-horror, part pagan ritual, and part psychical experiment, KXT on Broadway is transformed into a brutal and deadly jousting arena. “Death is certain. Loot everything.” Doppelganster on this occasion is meister Tobias Manderson-Galvin and maiden Kerith Manderson-Galvin. Yes, a brother and sister team to confound expectations, taste and patience.
At 2.5 hours we enjoy or endure an interpretation of what is known as The Anarchy – a civil war in England and Normandy between 1138 and 1153, which resulted in a breakdown in law and order. The conflict was a war of succession precipitated by the accidental death of William Adelin (the only legitimate son of Henry I), who drowned in the White Ship disaster of 1120. Henry sought to be succeeded by his daughter, known as Empress Matilda, but was only partially successful in convincing the nobility to support her. On Henry’s death in 1135, his nephew Stephen of Blois seized the throne with the help of Stephen’s brother Henry of Blois, who was the bishop of Winchester. He was crowned as King Stephen, and his early reign saw fierce fighting with disloyal English barons, rebellious Welsh leaders, and Scottish invaders. Following a major rebellion in the southwest of England, Matilda invaded in 1139 with the help of her half-brother Robert of Gloucester.
The conflict was considered particularly destructive, even by the standards of medieval warfare. One chronicler stated that “Christ and his saints were asleep” during the period. Victorian historians coined the term “The Anarchy” because of the widespread chaos, although modern historians have questioned its accuracy. It was good to know this BEFORE I saw the show. Did it help? Not really.
This is experimental theatre. Lead by the irresistible Tobias running rings as ringleader around the mostly still Kerith the pair intone long complex amplified monologues with the aid of recordings through earpieces. The writing is historic, imagistic, contemporary and often hard to catch – they speak very fast. I wanted to savour some of the images and description, but our challenge is to keep up. At some point I just let it wash over me. At times I was transported to the 1980s and the burgeoning Aussie version of the UK punk movement – everything old is new again as they say. And maybe that is the point – while looking back to an ancient time of civil disobedience we can draw inferences and direct correlation to our own times of global unrest.
There’s lots to admire beyond the tumble and jumble of text and sweat. The high mirrored surface of the setting is striking – edged with those spikes to stop pigeons landing it is at once alluring and scary (a bit like the entire piece!) Kerith is dressed beautifully in black and looks for all the world like a princess trapped in a fable as a chain wearing bald headed punk roves monstrously. The smoke machines, fans, water spray and a leaf blower all have their moments. Tobias Manderson-Galvin and Kerith Manderson-Galvin’s lighting is superb, and I love a production that keeps us in darkness then literally dazzles us with artful design. Alongside the mirrored walls of the theatre hang quilted banners – it all feels very Bayeux inspired. Being a craft lover, I am very impressed with the time and care that went into achieving this hand hewn, high concept work.
The Anarchy won’t be for everyone and the chairs at KXT are a punish for anything over 50 minutes. But I love how Doppelgangster sweep into town with their own
form of anarchic theatre, wake up the theatrical sleepers of Sydney as we return to
our well-made plays. For the feeling you get the morning after I recommend!
Kate Gaul, Theatre Now
